. Portrait . aving used a lens not intended for the purposein hand. Of course in groups every figure feels thathe or she is of just as much importance as any otherperson in the picture, and it should be the operatorsaim to show them. Unless he can manage his lens forthat purpose it will be a matter of an impossible natureto give this air of importance to his subjects; for ex-ample, one or two of them may be perfectly sharpwhile one or two may be badly out of focus. This iscaused usually by having the figures placed in differentplanes so that the lens will not cut deep enoughto bring in all of
. Portrait . aving used a lens not intended for the purposein hand. Of course in groups every figure feels thathe or she is of just as much importance as any otherperson in the picture, and it should be the operatorsaim to show them. Unless he can manage his lens forthat purpose it will be a matter of an impossible natureto give this air of importance to his subjects; for ex-ample, one or two of them may be perfectly sharpwhile one or two may be badly out of focus. This iscaused usually by having the figures placed in differentplanes so that the lens will not cut deep enoughto bring in all of the planes. To offset this the opera-tor has in most cases resorted to the use of diaphragmsor stops. This helps but does not absolutely correctthe fault. The proper plan is to arrange the groups inthe posing so that its formation favors the this we mean that the group should be somewhat inthe form of a semicircle, so that it is deeper in thecenter than at its edges. This is necessary for the Portrait. o v t v a i i; reason that as a rule portrait lenses working at F-5 orF-4 focus sharper at the center than on the edges, orvice versa, due to the fact that they have to a greater orlesser degree the fault of spherical aberration, whichcauses the rays of light passing through the center ofthe lens to be somewhat longer than those passingthrough the edges; thus, when the lens is focused on
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