. Portrait . PORTRAIT sufficient for the .universal demand of likeness. Noth-ing but the accurate rendering of the features entersinto consideration. The simplest lighting is the bestand no pictorial embellishments are necessary. Butthere lies just the trouble—a certain part of the publicwants more than that. In Figures 2 and 3 we encounter more subtle facialexpressions. Not perhaps so much so in Fig. 2, but. Fig- - Posed by the S. A. Cooley Studio, Denver. Colo. l-k- ^ surely in Fig. 3 where the expression is wavering betweena pout and a smile. Now, these fleeting expressions,the transitions
. Portrait . PORTRAIT sufficient for the .universal demand of likeness. Noth-ing but the accurate rendering of the features entersinto consideration. The simplest lighting is the bestand no pictorial embellishments are necessary. Butthere lies just the trouble—a certain part of the publicwants more than that. In Figures 2 and 3 we encounter more subtle facialexpressions. Not perhaps so much so in Fig. 2, but. Fig- - Posed by the S. A. Cooley Studio, Denver. Colo. l-k- ^ surely in Fig. 3 where the expression is wavering betweena pout and a smile. Now, these fleeting expressions,the transitions from one vague emotion to another,are the most difficult to handle. They may prove adecided success or absolute failures. The instantaneousexposure has the recording power for all these variousmoods, intentions, endeavors, desires, conceits that PORTRAIT flit across the face, hardly lingering there for even afraction of a second. But there is a great danger thatthe lens is even more rapid than the momentary expres-sion. It catches only a portion of it, the beginning orend, and the facial expression may become so subtlethat it does not explain itself. It frequently becomesa kind of distortion, as in a snapshot. This may bethe fault of the lens but just as frequently it is ourincapability of judging the rudiments of emotion. Ourfaculty of visual apprehension may work fast enough,but our retina or our mi
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