390. Brides And Confirmation Pictures

Brides And Confirmation Pictures. Of all classes of subjects, perhaps none give the photographer greater difficulties to surmount than brides, and children gowned in confirmation dress. We combine these subjects because the same difficulties are to be contended with in each. For the child dressed in confirmation garb, as with the bride, a veil must be employed, and in both cases it is usually more a picture of the gown and veil that is desired than a characteristic portrait of the subject. As these garments arc worn usually but once in a life-time, the wearer feels awkward, and it is a difficult task for the operator to overcome this feeling and obtain a natural, easy position. Most brides prefer pictures in a standing position, as the gown may be shown to better advantage. The most pleasing effects are produced when they are posed in the act of walking, especially so when long trains and the veil are to be contended with, because the gown will hang more gracefully in natural folds when the subject appears to be walking.

391. In Illustration No. 46 observe the picture of a bride in the act of walking. Note that the subject is facing the light, bringing the train and veil in shadow, and thus giving better technical quality to the gown. In arranging the veil, it is important that it be well balanced on both sides of the face; otherwise the veil will have a dragging appearance and also give bad contour to the face. When a bouquet is used, it appears best held on the arm. With the bouquet many undesirable lines may be broken and the monotony of white overcome.

392. In Illustration No. 47 is shown a subject without the veil, in a more restful attitude. In this picture, too, we have an excellent piece of technical work. The folds in the drapery assist materially in truthfully reproducing the richness of the gown. Here the hands are simply posed. The gentle curve of the arm, resting on the pillow with a graceful bend of the wrist, at once gives ease to the position. The straight line of the settee affords relief to the many curves of the gown, giving a good balance and a most satisfactory picture.

Figure Posing 070064Illustration No. 45. Examples of Hand rosing

Illustration No. 45. Examples of Hand rosing.

See Paragraph No. 389.

Illustration No. 46 Bride in Act of Walking See Paragraph No. 391

Illustration No. 46 Bride in Act of Walking See Paragraph No. 391.

Illustration No. 47 A Suitable Sitting Position for Bride without Veil See Paragraph No. 392

Illustration No. 47 A Suitable Sitting Position for Bride without Veil See Paragraph No. 392.

Illustration No. 48. Maid of Honor

Illustration No. 48. Maid of Honor.

See Paragraph No. 393.

Illustration No. 49. Two thirds Figure in Bridal Gown

Illustration No. 49. Two-thirds Figure in Bridal Gown.

See Paragraph No. 394.

Illustration No. 50 A Simple Position for Standing Figure of Bride See Paragraph No. 395

Illustration No. 50 A Simple Position for Standing Figure of Bride See Paragraph No. 395.

Illustration No. 51. Bride and Attendants

Illustration No. 51. Bride and Attendants.

See Paragraph No. 396.

Figure Posing 070072Illustration No. 51a Suggestions for Bride Posing

Illustration No. 51a. Suggestions for Bride Posing.

See Paragraph No. 396.

393. In Illustration No. 48 is presented the portrait of a maid-of-honor, posed in a walking attitude, with the figure bending slightly forward, which supplies motion and ease to the pose. The absence of stiffness is quite apparent.

394. In Illustration No. 49 a two-thirds figure of a subject in bridal gown is pictured. The exceedingly rich quality of the dress-goods required careful handling under the light to preserve the effect, and yet not permit the gown to detract from the face. As you will observe, every quality is retained. The hands are simply, but gracefully, posed, and by the low key of light the attention of the observer is at once directed toward the face.

395. In Illustration No. 50, a standing, full-length figure, we have the subject turned toward the shadow, with about a two-thirds view from the camera. The face is practically a front view. One arm and the hand at greater distance from the camera is almost entirely hidden by shadow, just enough being shown to suggest the arm and hand. The arm nearest the camera is slightly bent at the elbow, breaking the strong line of the skirt and waist. The hand holding the rose is thrown slightly into the shadow, which gives it a less conspicuous appearance. The needed appearance of height is supplied by having the figure stand erect, with the train of the gown swung around the feet, while the broad sweep to the gown gives excellent balance to the portrait.

396. In Illustration No. 51, a group of a bride and her attendants is presented. The simple arrangement of this group gives a most pleasing appearance and should offer valuable suggestions for posing groups of this character. Further suggestions for bride posing are shown in Illustration No. 51a.