This section is from the book "Complete Self-Instructing Library Of Practical Photography", by J. B. Schriever. Also available from Amazon: Complete Self-Instructing Library Of Practical Photography.
Proper Subjects For Profile Portraits. A suitable subject may be determined in the following manner. Arrange your subject in profile pose and view the image on the ground-glass. Place a glass straight-edge on a line across the front of the face in profile, starting at the forehead directly over the eyebrow, extending through the nose, and touching the lower lip. The closer the entire forehead bends to this line the better; the nearer the chin comes within the range of line the better also. If the chin or forehead recede considerably from the line, the profile is bad. The more they recede the poorer the profile. The nearer they join this line the nearer perfect is the profile. See Illustration No. 20 of suitable subjects for profile portraits - the thin face subject in Broad Lighting and the round face subject in Shadow or Rembrandt Lighting.
Improving Profile By Proper Lighting. The subject with a perfect profile may be placed in any position and under any style of light and will always present a good profile; but, while there are very few who really have a perfect profile, there are many whose profiles, if properly posed and lighted, can be improved and good profile pictures
Illu.stration No. 20. See Paragraph No. 352 Suitable Profiles for Plain and Rembrandt Lightings.
THE CUP THAT CHEERS Study No. io-See Page 403.
Mrs. M. S. Gaines made of them. For instance, we have some subjects with square, broad, flat chins. In lighting such a subject for Rembrandt Lighting, by turning the face from the light into the shadow only a trifle more than you would were the profile a perfect one, the high-light side of the square, broad chin will throw a shadow across the width of the chin, thus increasing its length. This is also true of the forehead where the forehead recedes - the more breadth you can admit into the view and yet retain the profile outline, the less curve it will show, thus producing a more square forehead than would be the case if made exactly the same as you would a perfect profile.
Tipping The Head. By slightly tipping the head towards the camera we also gain a little length; that is, we apply some of the width of the face to the length, thus giving us more breadth to the profile. Many obstacles may be overcome by the simple turning of the head a little one way or the other, tipping it to or from the camera, raising it or lowering it. Each movement will show its effect and must be closely observed.