Good tones are obtained with normally exposed and developed conventional paper prints. Some modern papers even those described as ‘fibre’ are liable to give variable results and ‘blotches’. It is recomended that prints are given full exposure, and development, an acid stop, fixed in a simple non hardening fixer, and copiously washed. Work only under subdued lighting. …
Naturally the diagrams should only be taken as a guide, as it is impossible to accurately represent the enormous variety of heads, dishes, softboxes, reflectors and so on that are available, while using an accessible range of diagrams, nor is it possible to fully indicate lighting ratios and other such specifics. In practice, however, differences in equipment, and sometimes scale, should be small, and will anyhow at allow you to add your own personal stamp to the arrangement you’ re seeking to replicate. In addition you’ll find technical details about the use of camera, film, exposure, lens etc. along with any useful hints and tips.
Artificial light sources let you bring your own light with you when the sun goes down, when you photograph in a relatively dark room, or when you need just a little more light than is available naturally. Different sources produce light of different colour balances, an important factor if you are using colour films.
Flash can be used in conjunction with ambient (already existing) light. It can be very useful as a secondary light source to fill in the shadows of natural light, without losing the basic light & shade patterns nor the general atmosphere.
White light, such as that from the sun, contains all the colours of the spectrum. Pass light throught the prism and it will brake into the rainbows of colours. …