Perhaps the beauties of nature are nowhere better exemplified than in
flowers, and nothing can be prettier than photographs of them
carefully arranged. When we say carefully arranged we mean, of course,
artistically. The secret of arranging flowers--an art in itself--is to
hide the fact that they have been arranged.
Among the best pictures of flowers which have appeared in print, are
those by John Carpenter, an English gentleman, who has made this
particular branch of photography his chief study, and has been awarded
many prizes and medals for flower studies.
Some time ago we wrote to him asking for a few particulars of his
method adopted, and he has been so very kind as to send the following
valuable notes:
_Suitable Flowers._--I find that the best colors to photograph are
pale pink, yellow, white or variegated colors. Reds, browns, and dark
colors generally, do _not_ answer well.
Flowers of irregular form are most suitable, such, for example, as
chrysanthemums, lilies, poppies, etc. These give beautiful gradations
of light and shade.
_Grouping._--There is great scope here for artistic feeling. All
appearance of formal arrangement must be avoided and a natural
grouping should be aimed at. This becomes more difficult as the
flowers must be somewhat on one plane to get them in proper focus. A
round bunch of flowers which may appear very pretty to the eye would
probably be utterly wrong to make a picture of.
[Illustration: Fannie Cassidy. FIG. 57.--A BOWL OF ROSES.]
_Lighting._--I have never worked in a studio, but have a small lean-to
glass house in which I work. The top light is softened down by light
shades so that the strongest light comes from the side. This gives
solidity to the subject and is more pleasing than a flat lighting. Of
course, the sun should never shine on the subject.
_Plates and Exposure._--If colored flowers are being photographed,
orthochromatic plates are a necessity, but for white flowers and
light-green foliage ordinary plates may be employed. I generally use a
medium isochromatic, stop the lens to _f_:22 and give exposure of from
thirty to sixty seconds in summer and vary according to the season;
sometimes twenty _minutes_ is not too much.
_Development._--My usual and favorite developer is pyro-ammonia, and
in careful hands it cannot be beaten. I commence development with a
minimum of pyro and work tentatively.
Using such a solution, for 2 ounces of developer I should commence
with 1-1/2 grains pyro, 1 grain bromide, and 2 grains ammonia. If the
image does not gain sufficient density add more pyro and bromide, but
unless very fully exposed it is difficult to avoid too much density,
especially if white flowers are being photographed.
I find a plain gray or dark background most useful, and to avoid
flatness it may be set at an angle and not too near the subject.
Flowers should be photographed as soon as gathered, and if possible be
placed in water. I have often found a plate spoiled by movement of the
leaves or flowers, even with short exposures, although the movement
was not perceptible to the eye. This is more especially the case in
hot weather.