A strong light coming from a high point should be avoided with this sitter. Such a light would catch the prominent features and deepen the shadows below them, thus emphasizing the very points you want to subdue. A full soft light, most of it coming from a source not higher than the level of the sitter's head, will lighten up the sunken parts of the face and reduce the prominence of the nose and cheek bones.

If you use a white background for this picture, you increase your difficulties. The reason is that the white ground makes the outlines of the portrait very pronounced, and, in this case, neither the face nor the figure will stand it. A solid picture,with a medium background, is much more suitable. It will add to the softness and prevent the figure from having a silhouetted appearance.

Here is another type. She is younger than the last - she may be thirty-five, but her fresh, healthy complexion and her jolly disposition would enable her to pass for twenty-eight. Her figure is plump, in fact she may be called stout, her neck is short, her face is round with the features small in comparison. She is dressed in a white satin evening gown. Her manner is lively, she keeps up a flow of conversation all the time she is in the studio.

You have no difficulty here in making your sitter feel at home - you can give all your attention to posing and lighting.A head-and-shoulders vignette will avoid the almost impossible task of getting graceful outlines into the full or three-quarter length figure.

You will, however, have to work carefully, even with the head and shoulders. If you try a sitting position, you will notice that the head seems to sink into the body and that the neck looks shorter than ever. Try a standing position, and note the difference. Let your sitter stand in such a way that she rests evenly on both feet. This will prevent crouching and avoid any uneven-ness in the height of the shoulders. Now ask her to rest her hands on the back of a chair placed in front of her. The back of the chair should be just high enough to cause the sitter to lean slightly forward when she rests upon her hands. The difference with such a sitter is surprising. The appearance of stoutness is reduced, the neck seems longer and more graceful, and the squatty, huddled-up effect is overcome.

Do not forget the height of the camera. You must work with it fairly high, otherwise you will dwarf the head, shorten the nose and altogether spoil the pleasing effect you have secured by the standing position.

A moment's thought will show you that the lighting you used with the first sitter will not give you the most pleasing result with this sitter. Then you had to deal with a thin face, hollow cheeks and prominent features; now the face is fleshy and round and the features are short and blunt. A broad, soft lighting from a low point would reduce what little relief there is in the face and would work against the effect you want to produce.

Cut off nearly all the low side light and let your main light come from a point well above the level of the sitter' s head. Do not soften too much with screens - you want "point" and "crispness" to define the shadows below the nose and chin, and to give the features all the relief possible. The background, of course, will be the one you generally use for vignettes.

The People You Photograph StudioLightMagazine1916 189

FROM AN EASTMAN PORTRAIT FILM NEGATIVE

By B. V. Mathews Concord, N. C.

The People You Photograph StudioLightMagazine1916 191

FROM AN EASTMAN PORTRAIT FILM NEGATIVE

By B. V. Mathews Concord, N. C.

There are so many of these recognized types, both among adults and children, that their further consideration must stand over till another issue.