Evening star., 1949-10-02
Camera Angles
Light Control and Angles Help Portraits
By Alexander J. Wedderburn
Curator Of Photography
The Smithsonian Institution


Curator Of
The Smthson
Two of the most important OF
the controlling factors in taking
portrait pictures are effective
light placement and control and
the camera angle. Most amateur
photographers have come to
realize the Importance of the cor
rect utilization of light, but too
many still shoot their portraits
from any angle without regard
for the ultimate effect.
The angle of your camera at
the moment that the shutter
clicks on a portrait study will
have much to do with the later
reaction Of the subject to your
picture. This is equally true OF
light control and placement.
All people have their good
points and most have a feature
or two that may be considered
bad from a Photographic stand
point. Even the glamour girls
and boys of the stage and screen
are well aware that they photo
graph better at one angle than
another. So your task, as cam
era portraitist, is to play up the
better features of your subject
and subordinate those that are
not so attractive.
This is accomplished by a skill
full application of light together
with an effective use Of shadows
and your artistry is then COM
pleted by placing the camera at
the right angle to show up the
subjects best features and hide
the worst. A shrewd coupling of
these two factors will enable you
to use your tools in much the
same manner as the painter uses
his paints and brushes and to the
same end-a good portrait.
Question Of Realism.
Now the question arises-what
is a good" portrait. At once we
begin to tread on dangerous
ground. One school of thought
demands realism at all costs and
the other softens the theory to
the point where actual hatte-y of
the subject is paramount. We are
inclined to temporize. So do all
professional portrait photogra-
pliers. II you don't agree with us
Just take a picture of a middle
aged lady with a harsh all-reveal-
ing light and see what happens
when she views the result. But
don't do it if you want to retain
her friendship.
A good portrait, then, may be
defined as one that pleases the
subject without losing the like
ness. And it can be done, too.
The flrst rule, then, might be to
avoid placing emphasis on a bad
point such as a prominent nose
or double chin. II your subject
has the former fault, make up
your mind from the beginning
that you will not attempt to take
a profile picture. The double chin
can, be de-emphasized by using
your lights and camera angle I'd
the best advantage. And so on.
Now let's take look at a few Of
the tricks that the professional
portrait men use in their work.
First the lights. To begin with
you must place your main or key
light Do this after you study
the facial characteristics of your
subject. Most every one photo
graphs better from one side than
the other. And most people, from
past experience, know which is
their best side. Therefore, If this
is not readily apparent to you.
don't hesitate to ask. The in
formation will not be volunteered
If the subject has a normal reti-
cence. You can save time and
wasted film by arriving at this i'm
portant knowledge right at the
start.
The main light is generally
placed at an angle of between
Is and As degrees between the
subject and the camera on either
the right or left Of the camera
depending upon the better features
Of the subject. All other lights
should be kept subordinate to the
key light. This light will fully
one side of the face and
cast a triangular patch of light on
the far side. This patch of light
will. when properly balanced by
a flll-in light. give the illusion of
and depth to your
photograph.
The flll-in light, which is placed
on the side Of the camera opposite
the main light, should fill in the
shadows on the face without COM
pletely eliminating them. This
light should be placed close to the
camera and slightly above the
level Of the lens. It should be
regulated so as not to cast a nose
shadow on the far side Of the face.
If the subject has broad face,
llRA RU+E