The Dictionary Of Photography

A True Historic Record Of The Art & Practice Of Photography 100 Years Ago.

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Porcelain Pictures                                             Portraiture
very great. By placing them face to face and the sitter between, reflection and re-reflection can be so arranged that the sitter in each of the mirrors appears as a series of copies of himself arranged in a row, side by side. Placing the mirrors so that their edges meet at an angle of 750 (see fig. 94), and letting the sitter face the angle, five different views of the same subject are obtained, all giving essentially different views of the face. In some of the American cities this class of picture has been made a specialty by one or two photographers, with the result that considerable business has been done for a while. This method has very distinct advantages as a style of portraiture, and gives great scope for ability in posing and lighting, so that we wonder it has never been taken up by a first-class photographer and developed to the full extent of which it is capable. It will be seen from the diagram that the camera is arranged to point between two plain backgrounds on stretchers, or plain screens, to prevent any part of the room near the camera coming into reflection."
Porcelain Pictures. See Enamels and Opalotypes.
Portrait Lens. See Lens.
Portraiture. The portrayal of the features of those with whom they are in daily contact may be said to be the summit of ambition of jnany amateurs, and, as a rule, it is their weakest point, and naturally the stronghold of the professional. So many happy possessors of a camera consider that all they have to do is to stick their sitter down somewhere near a strong light, tell this much-to-be-pitied individual, after he or she has become thoroughly worn out and tired of the whole thing from frequent changes of position and camera, this being wrong, and then something else requiring readjustment, to look pleasant - fancy looking pleasant when you wish the whole thing elsewhere ! - and then, after the usual operations, a first-class pleasing memento is expected to be the result. They expect in a few trials to reach the same standard that it has taken the professional years of apprenticeship, hard work, and study to learn ; and should their results be any but first-class and pleasing, the blame is thrown on the lens, camera, light, sitter, the bad plates, anywhere but on the right shoulders. Portraiture needs a keen appreciation of the value of light and shade, a good