OUT-OF-DOOR PORTRAITURE.
Probably no branch of the photographic art is followed by more people than out-of-door portraiture. It seems to be the aim of almost every novice to make portraits of his friends or family, and on account of the abundance of light many beginners make their early attempts out of doors.
There is, however, a great difference between a properly made portrait and the under-exposed snap shots made by so many beginners, and in fact by many who are no longer such.
It is not a difficult matter to succeed in this interesting work if one will but give a little time to the study of conditions and approach the subject in an intelligent manner. Three things must be carefully considered—light, exposure and background. Light is the first consideration. Intense sun light should he avoided for it produces pictures with chalky highlights and unpleasant shadows. The light which you will obtain upon a shaded piazza is almost sure to be satisfactory. By placing your subject near one end of the piazza almost any effect of lighting may be obtained by shifting the camera and turning the subjects face to or from the light. If the house is painted a light color, sufficient light will usually be reflected upon the shadowed side of the face without the aid of a reflector. Should it be found necessary however, the reflector described on page 69 may be utilized to lighten up the shadows in precisely the same way as described in the article on Home Portraiture, pages 35-4.8. Charming piEtures may often be made in a garden or upon a lawn when the conditions of light are favorable. By working when the sun is hidden behind fleecy white clouds a very fast light is obtained and portraits may be made in any part of the garden or grounds without fear of harsh lightings. Such conditions are particularly desirable when photographing children, for a slow instantaneous exposure may be made while holding the camera in the hand. Often a picture of a child taken under such conditions is highly pleasing to the parents, for it shows the child amid the most familiar surroundings. Beau
tiful effects of lighting may sometimes be made by working in the direct sunlight when the sun is low in the latter part of the day. And in the numberless effects of lighting that may be obtained by the persistent worker lies one of the great charms of out-door portraiture.
Portraits, whether indoors or out, should always be fully exposed. A full exposure with proper development insures a truthful rendering of the light and shade upon the subject. Chalky white faces and black shadows which under-exposure and forced development always produce must be avoided. The method of determining proper exposure for indoor portraits described in Mr. Steadman's article (pages 35-4.8) may be employed to excellent advantage for out-door portraits as well. But whatever method you employ for determining exposure, remember that it is always better to over-expose than to under-expose.
The beauty of a portrait always depends largely upon the selection of a background. Many otherwise fine pictures are completely spoiled by an ugly or inappropriate background. When working upon a piazza, a back ground may be provided by stretching a sheet across the end. Or for a dark background a brown or red blanket may be used. A door opening into the house with the figure in the doorway makes a good combination. 'When working about the garden or grounds of a house a natural back ground should always be sought. Shrubbery, vines, dark shadows under the trees are but a few of the many possibilities. Avoid carefully such abominations as the clapboard side of a house and picket fences.
In conclusion a word might be said in regard to development. Aim for gradation and softness in your negatives. If you use the Kodak Tank Developer or the Developing Machine a little experience will tell you the length of time which gives the most pleasing results. If you develop in the dark-room by hand it is well to use a rather dilute developer and be very careful not to carry development too far.