The American annual of photography . thadults, since, the use of color-sensitive plates in conjunctionwith a ray-filter becomes a possibility, and a convincing qual-ity of roundness, together with perfect texture rendering, re-sults, this being not easily attained in the studio, and evenvyhen it is so attained, it is generally at the expense of ^ii^lities. :«4>Now as to working methods. The very flexibility of outdoorwork precludes any positive instructions; there are no rulesin art. Each worker must determine for him:elf just whathe will do, selecting clothing, arrangement, pose, li
The American annual of photography . thadults, since, the use of color-sensitive plates in conjunctionwith a ray-filter becomes a possibility, and a convincing qual-ity of roundness, together with perfect texture rendering, re-sults, this being not easily attained in the studio, and evenvyhen it is so attained, it is generally at the expense of ^ii^lities. :«4>Now as to working methods. The very flexibility of outdoorwork precludes any positive instructions; there are no rulesin art. Each worker must determine for him:elf just whathe will do, selecting clothing, arrangement, pose, lighting, toexpress what he wishes to say; the alert mind must be, pre-cisely, alert, and it is not so easy to fall into a rut as in studiowork. But a few suggestions may at all events be given. It is not, in general, well to have the sitter facing directlytoward the sun, or even at such an angle that direct rays fallon the eyes, for in such circumstances most persons willsquint. The writer has, however, seen a portrait by Coburn 150. THE STORM KING. CHARLES L. SNYDER. 151 in which the sitter was turned ahnost squarely toward thesun—but her eyes were shaded by a broad-brimmed hat. Thecontrast between the fully illuminated lower face and theshaded forehead was very striking, and the portrait was emi-nently successful; of course, full exposure and soft develop-ment were required to retain the values. Still, it is generallybetter to have the sitter turned so that the direct light comesslightly from behind, the general illumination being reflectedfrom the sky or from some nearby object; the effect of re-lief obtained by means of the resulting halo on the figure isnoteworthy—and natural. As in studio work, a secondary orreflected Hght should explain itself; few things are more irri-tating than the double light so popular among the motionpicture workers, where aluminum screens are used to throwlight into shadows, the effect being usually overdone. Thewriter has seen a motion pictu
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Keywords: ., bookcentury1900, bookdecade1920, bookpublishernewyo, bookyear1922
