SUBJECTS OF NORMAL CONTRAST A subject under this head is defined as one whose actinic contrast does not differ greatly from 1 to 32, and an emulsion of equal latitude will of course be normal for such a subject and with normal exposure the full scale of tones will be obtained in the resulting picture. Sun lighted exteriors in which the greater area is in the shadow, as when the observer looks somewhat towards the sun, and also foreground subjects in sunlight are among the normal sub jects as shown in plate VI.
On cloudy days or when the sun is below the horizon a subject may reach this degree of ac tinic contrast should there be some objects of broken form or with planes extending in dif ferent directions and some of these planes facing downward away from the direct light of the sky, as shade trees, animals, houses with covered porches, etc. If one includes white clouds in the analysis of an exterior subject it is usually, except in the cases of very open or bird's eye views, to be classed as having over-normal contrast. When in an interior there is included some rather strongly lighted parts somewhat adjacent to the light source, normal or even over-normal contrast may be obtained at will.
Portraiture in general presents this normal class of subjects. This is the highest form of photographic subject not only from the artistic and aesthetic point of view but from that of the artisan as well. This is for the reason that while other subjects generally have their light ing and contrast laid on them, so to speak, by nature, and are usually analyzed and photo graphed as found, the portrait subject is free or movable and its lighting contrast when photo graphed, if perchance it be the result of fore thought, must be the conception and creation of the worker. This should be the case always but unfortunately mere accident too often de termines the lighting of the amateur portrait while a cold conventionality characterizes the work of those professionals who depend for their light and shade effects upon the automatic action of their studio light (pp. 87, 139, 141). Portraits of normal contrast are shown in plates VII, VIII, IX and XIII.