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  1. #41
    eddym's Avatar
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    Quote Originally Posted by df cardwell View Post
    [I]Today, I trust to intuition when I make a portrait,
    intent only to connect -sometime in the future-
    with an unknown viewer who might see the picture.
    Wow... your entire post was sheer poetry; but this sentence sums it up best to me. And, in the spirit of this topic, it inspires me.
    Eddy McDonald
    www.fotoartes.com
    Eschew defenestration!

  2. #42
    Gary Holliday's Avatar
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    Quote Originally Posted by DannL View Post
    These images represent the skills of portraiture and printing I hope to achieve. Enjoy!


    http://www.apug.org/forums/attachmen...2&d=1211515731

    This is incredible, what process is this?

    I'm glad I found this thread, was going post something similar as I'm looking for inspiration. I'm photographing a female vocalist next week over in Germany and can't think what to do! I won't have any lights with me.

  3. #43

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    Quote Originally Posted by Gary Holliday View Post
    http://www.apug.org/forums/attachmen...2&d=1211515731

    This is incredible, what process is this?

    I'm glad I found this thread, was going post something similar as I'm looking for inspiration. I'm photographing a female vocalist next week over in Germany and can't think what to do! I won't have any lights with me.
    I believe it to be a platinotype, but I could be mistaken.

  4. #44
    df cardwell's Avatar
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    It is a simple, window light portrait. There are blinds / curtains at the window used to mask down the window to make the right sized opening. Likely the sitter was vignetted by a card over the lens. Light fell in a pleasing way on the background.

    This is a lovely portrait that was pretty typical of a good portrait shooter 100 years ago.

    You can do this with a 35mm /120 camera and a medium speed film. Find a nice window, with unobstructed light, and practice a little bit. Look for some portraits from this period, and study the posing. Elegance of line, the hair pinned up, displayed an admirable neckline, the light on her cheekbones is luscious. The plate might have had some pencilling to clean up the highlights.
    The tilt of the head, very typical. Makeup ? A touch of baby powder.

    The focal length was typically = the the long + short side of the format: 6x7 would be 130mm @ f/4.5. The negative will have generous exposure and minimal development, a CI of .58. DDX and FP4 would make this a snap.
    Pan F, even better. A plain old silver print ( Kentmere ) would be good.

    Have fun !
    "One of the painful things about our time is that those who feel certainty are stupid,
    and those with any imagination and understanding are filled with doubt and indecision"

    -Bertrand Russell

  5. #45

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    I agree. Pan F would be perfect. Here is a closer view for analysis. Scanning always leaves much to be desired.

    Close-up scan

    Cheers!

  6. #46
    df cardwell's Avatar
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    Here is a closer view for analysis

    Dorothy was a pretty good painter... and just plain pretty !

    Looks like one of the neat portrait lenses of the day, not a Verito,
    more like a Dallmeyer, or a Cooke, or - I'm unsure about the dates -
    Pinkham & Smith were in the neighborhood !

    Another possibility for the lens might have been a Tessar, Heliar,
    or other fast Anastigmat of the day. While we tend to think of these as press lenses, they were very popular for the ability to FOCUS easily. The method in the day was to focus, do any corrections, such as tilting the lens to brng a shoulder, or hands, into the plane of focus, and then rack the front standard out to put the focus slightly ahead of the face. Yep, that's how they did it.

    If I were running out to do a picture like this, with, say, Mamiya RB, I'd use a 127 and stretch a little black silk stocking (Dior, if you've got them) over the back of the lens like the movie guys do.

    I understand, years ago, when Dior stopped making THE silk stockings, Harrods acquired all that were left and there was a mob of english cine shooters at the front door, elbowing out all the ladies...picture some blokes that look like Hagrid loaded up with boxes of stockings.

    An EXCELLENT place for Primary Source information on Portraiture in the early 20th century are periodicals to the trade, like Kodak's Studio Light, and the amazing The Photo Miniature. Available for a song at the online-auction-place. My favorite is the 1916 interview with THE HOT California Portraitist... Edw. Weston. Like having a Photo Tardis.

    "One of the painful things about our time is that those who feel certainty are stupid,
    and those with any imagination and understanding are filled with doubt and indecision"

    -Bertrand Russell

  7. #47
    John Bragg's Avatar
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    August Sander again...

  8. #48
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    Cecil Beaton




  9. #49

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    Quote Originally Posted by Kvistgaard View Post
    Hi all,
    a portraitist who has inspired me quite a bit is the Scot Robin Gillanders, whose book "The Photographic Portrait" was a real eye opener for me in its demonstration that the boundaries for portraiture are very wide indeed. Good blend of formal and more informal portraits, and I can't recommend this book enough. Strangely, Gillanders does not seem to be very well represented on www.

    Cate: Thanks for starting this thread. Much needed :-)
    How funny to stumble across this. Robin Gillanders was my instructor at Napier College 24 years ago and I still think of him as a big influence, and one of the nicest people I've met.

  10. #50
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    How about these ones !!
    I was born and brought up in Iran, a beautiful country full of history.
    k o m b i z z

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