PORTRAIT PHOTOGRAPHY

foreword = xi 1 EQUIPMENT FOR PORTRAITURE = 1 Camera = 1 Tripod = 3 Lights = 4 Spotlight = 5 Flood = 6 Backgrounds = 7 Furniture = 8 Accessories = 9 2 LOOKING AT LIGHT = 8 Observing light = 8 Climatic conditions = 9 Actinic value of light = 10 Psychological effect of light = 10 Visual light and shade = 11 A tree = 11 Visual colour = 12 A piece of bark = 13 In the studio—daylight = 14 Artificial light = 16 Visual effects = 16 Brilliant sunshine and blue sky = 16 Hazy sunshine in white cloudy sky = 16 Sunshine on snow = 17 Sunlight and storm clouds = 17 Mist or haze = 17 Psychological effect of artificial lights = 17 3 LIGHT ON THE FEATURES = 20 Eyes = 20 The nose = 22 Lips = 24 Chin and neck = 24 45° modelling light = 28 4 BASIC POSITIONS OF MODELLING LIGHT = 29 Full-face central modelling light = 30 Full-face 25° modelling light = 31 Full-face 45° modelling light = 32 Three-quarter face central modelling light = 33 Three-quarter face 25° modelling light = 33 Three-quarter face 45° modelling light = 33 Profile central modelling light = 35 Profile 25° modelling light = 35 Profile 45° modelling light = 35 Profile rim light = 36 Profile dark rim outline = 37 Profile 25° modelling light = 37 5 RIM LIGHT AS AN EFFECT LIGHT = 39 Rim light only = 39 Rim and modelling lights combined = 40 6 THE SECONDARY LIGHT = 45 Full face: modelling light central = 47 Full face: modelling light 25° right = 51 Full face: modelling light 45° right = 53 Applications = 57 Exposure and development = 58 7 BRIGHTNESS RATIOS APPLIED = 59 High key subject = 59 High key: ratio 1:2 = 60 Low key subject: ratio 1:2 = 63 Longer tone scale subjects: ratio 1:4 = 66 8 EFFECT OF CAMERA ANGLE = 69 Camera near the norm = 70 Model facing S. = 71 Model facing S.E. = 74 Model facing E. = 76 The findings = 76 9 CAMERA HEIGHT AND THE INDIVIDUAL = 80 Division into thirds = 81 Irregular features = 81 Irregular shaped heads = 82 Long thin face = 83 To sum up = 83 Round plump face = 83 To sum up = 84 Triangular face = 84 To sum up = 85 Square face = 85 10 EXPOSURE AND DEVELOPMENT = 87 Factors governing exposure = 87 Calculating exposure = 90 Subject types = 92 Assessing the subject = 94 Developing the film = 96 Working with standard developers = 129 11 INTERPRETATION AND DESIGN = 131 Simplicity = 132 Cultivate the imagination = 132 Building your own composition = 134 Direction of line = 140 Feeling for design = 143 Graphic design in portraiture = 144 Portrait head used as a design = 144 Intimacy in a portrait = 146 12 CHARACTER AND THE FACIAL FEATURES = 148 Forehead = 149 Eyes = 149 Eyebrows = 150 Nose = 150 Mouth and lips = 151 Chin = 152 Ears = 152 Feature study = 152 Facial lines = 154 Subject 1 = 154 Subject 2 = 157 Subject 3 = 159 Subject 4 = 163 Subject 5 = 166 13 PSYCHOLOGICAL APPROACH TO PORTRAITURE = 169 Inanimate head and a live person = 169 Character through the features = 170 Character through personality = 171 Character through mannerisms = 172 Practical hand = 173 Artistic hand = 173 Short square hand = 174 Small hand = 174 Psychological effect of clothes = 174 Self-consciousness = 177 Psychology applied in the studio = 178 14 LOW POWER LIGHTING TECHNIQUES = 182 Working conditions = 182 Low light technique = 184 Comparing figures = 187 Soft focus = 187 Tone in the forehead = 189 The model's thoughts = 189 Photographing coloured people = 191 15 MENTAL IMPRESSIONS AS ARTIST'S SKETCHES = 193 Training ourselves to see = 193 Case Ⅰ: middle-aged lady = 194 Case Ⅱ: young lady = 196 Case Ⅲ: young lady = 197 Case Ⅳ: teenager = 198 Case Ⅴ: middle-aged man = 198 Case Ⅵ: elderly gentleman = 200 Case Ⅶ: youthful middle-aged lady = 202 Case Ⅷ: middle-aged lady = 203 Case Ⅸ: young man = 204 16 CHILDREN = 206 Amateur snapshot v portrait = 206 Some methods of applying psychology = 207 Booking the appointment = 208 On arrival = 208 Parents in the studio = 208 The studio set-up = 210 The flash alternative = 212 Final preparation = 213 Daylight studio = 213 Daylight is a natural light = 214 High key effect with tungsten lighting = 217 Tungsten lighting—grey background = 217 High key vignette = 219 Electronic flash = 219 Including hands—tungsten light = 220 Children at home = 229 Available light = 229 Flash = 231 Backgrounds = 233 17 ENLARGING TECHNIQUES = 234 Selecting the negative = 234 The enlarger = 235 Focusing = 236 Paper = 236 Paper surfaces = 238 Paper grade = 239 Step-wedge comparisons = 241 Colour of paper base = 242 Test strips = 243 Working temperature = 244 Stop bath = 245 Fixing = 245 Controls in enlarging = 245 Screens = 246 Controls in print development = 251 After treatment of prints = 253 Reducing a large print = 254 Intensifying prints = 255 Sulphide toning = 256 18 UNDERSTANDING COLOUR = 257 Psychological aspect = 258 Colour characteristics = 258 Colour relationships = 260 Lighting and colour = 263 Backgrounds = 265 Exposing for colour = 266 Control by composition of colour = 268 19 RETOUCHING, FINISHING AND PRESENTATION = 272 Negative retouching = 272 Equipment for negative retouching = 273 Working on the negative—step by step = 277 Print finishing = 281 Presentation = 283 Titling and signing = 286 CONCLUSION = 287 INDEX = 289

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