. Portrait . ark masses) or evenly lighted withthe features expressed in actual lines. Notice thedifference in this respect in Rembrandts Self-por-trait and Van Dycks Trince of Nassau. The roundness of the face is very much neglected inrecent portraiture, and I do not believe that the publicis indifferent to this quality. The best modelers arelight and shadow, and although people might be as-tonished at such forceful modeling as in Fig. i, theywould learn to like it if it were offered to them, as mostpeople have sufficient discrimination to judge whethera cheek in a portrait is flat or round,
. Portrait . ark masses) or evenly lighted withthe features expressed in actual lines. Notice thedifference in this respect in Rembrandts Self-por-trait and Van Dycks Trince of Nassau. The roundness of the face is very much neglected inrecent portraiture, and I do not believe that the publicis indifferent to this quality. The best modelers arelight and shadow, and although people might be as-tonished at such forceful modeling as in Fig. i, theywould learn to like it if it were offered to them, as mostpeople have sufficient discrimination to judge whethera cheek in a portrait is flat or round, and I trust theywould prefer thelatter quality if itwas left to them. With the aim ofproducing a dozenor more faces a dayin an effective andlifelike manner, thephotographers areforced to experi-ment with light. Ofcourse they all ar-rive sooner or laterat a certain rout-ine, specially adap-ted to the lightsources of theirstudios. Still, theywelcome every in-novation. In re- ^i^. , Prince of Nassau. By Van Dyck. PORTRAIT cent years no other lighting scheme (ex- ^^f* ^ 3 cepting perhaps Wes- jpln ^JS^ 1| tons out-of-door ex- ^^^*^^ I)osures) has attracted >o much attention as the double lighting. It was, if not originated, at least made into a specialty by Lerski of Milwaukee, and since then it has been put into practice in endless modifications. It is a reliable andpicturesque animates the face,no matter how it isapplied. The shadowrunning down the mid-dle of the face andalong the ridge of thenose, however, is an extreme as it is suitable onlyto very few faces. It also has the tendency to renderthe complexion too dark. By placing the sitter in acorner with a window at each side and the light fromeach equally strong, you will get this result. The samecan be obtained in a bay-window, shutting off the lightof the center window. The light must be strong or itwill not produce the desired effect of concentratingthe shadows in the middle of the face and neutral-izing them o
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Keywords: ., bookcentury1900, bookdecade1900, bookidpo, booksubjectphotography
