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.
