School renewal OK'd, levy defeated Stage craft - Canton Public Library

IE* 0*£ Thursday. February 19. 1987
Keep portrait subject relaxed
£ A good portrait
afcould tell something
about the subject A
#K>tograph of someooe
to, in a sense, a visual
Kograpby In fact, some
Of the best portraits go
beyond mere likenesses,
io become interpretations
of the subject's
character
1 How do you go about
getting good, meaningful
portraits? Let's start
with le
The best focal length
lenses to use are those
between 85mm and
200mm. Any lens
shorter than 85mm such
as your normal 50mm
lens will necessitate
shooting at an intimidatingly
close distance
and will result in distortion
of the face. Any
lens larger than 200 will
flatten the image and
the face won't appear
normal in the finished
portrait
BE PREPARED to
take lots of pictures.
Facial expressions are
constantly changing and
each subtle shift should
be captured oo film. Often,
an entire roll of
Short
Shots
X
• e Monte Nagler will
Conduct a photography
seminar at 1-6 p.m. Saturday,
Feb. 28, in the
Marcotte Room of the
Southfield Public Library
in the Civic Center
complex, Evergreen
between 10 and 11 Mile,
Southfield.
; Topics to be covered
include exposure, depth-
Of-field, filters, lighting
tenses and composition.
JD>t fee is $16. For registration
information,
tall Southfield Cultural
Arts office, S54-4717.
w
film will.produce only
two or three good shots.
! For correct exposures,
move in close and
take your reading directly
off the skin This
way, an extremely light
or dark background
won't influence the
meter.
lighting is of utmost
importance. The best
guideline is to keep it
simple. I prefer natural
window light in- a single
artificial light at a 45degree
angle to the side
and above the subject.
Monte Nagler had no trouble relaxing his subject and capturing
a natural expression. It's hie wife, Mickey, part-time model.
He used a main light and s soft fill with a white wall for background.
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To fill in the side of the
face opposite the light
source, use a white
poster board as a reflector.
If you desire, an
extra light above and
behind the subject will
dramatically accentuate
the hair.
Be sure that there's a
sparkle in the eyes that
is caused by the reflection
of the light source.
This is called a "catch
light" and is crucial
"life" to a portrait.
Also, because the eyes
are the most important
facial feature, always
focus sharply on them.
WATCH YOUR backgrounds.
A plain wall or
piece of poster board
will serve as an ideal interior
background. Outdoors,
consider using a
wide aperture to reduce
depth-of-field and blur
out what could be a distracting
background.
Shoot using a vertical
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format Faces naturally
go up and down so your
composition should fit
accordingly.
If your subject is
wearing glasses, carefully
check the viewfinder
for unwanted reflections
and adjust the
lighting or the subject's
position if necessary.
photography
Monte
Nagler
Before starting to
shoot, build a rapport
between you and your
subject The whole setting
must be relaxed.
How best to do this? By
lots of conversation and
being relaxed yourself.
You'll see that your
model will quickly relax,
too.
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Pre-study is prerequisite
A CASUAL GLANCE is how we go through most of our day.
/ \ After all, if you study the facial features of every per-
/ m 900 you see during the day you would be viewed as a
flirt at best, or, at worst, a weirdo.
It is the assignment of an artist, when commissioned to draw
anything or any person, to look closely at the proposed subject
and study it carefully. If, for example, you are to do a portrait
of a person, you should think back to the basic shape in each of
the features, then change those features to match that of your
model.
Every "drawing of the head" book ever written has a diagram
which shows how the features should relate to each other.
That's fine, but these relationships are average — or should I
say ideal — relationships of features.
Your model subject will surely vary from the diagrammed
face in a learn-to-draw book. All humans in some way vary
from the ideal faces and bodies provided in books.
THE CONSTRUCTION of the human head is first a study in
proportion. First, work to locate and position each feature to
produce a human face Then change the features to match those
of your subject.
Basically, the relationship of the features of the face and
head are simple. First, lightly sketch the outline of the head.
Then divide this egg-shaped oval in half to produce the line of
the eyes. Remember, to develop both eyes at the same time.
The distance between the eyes is usually the width of one eye.
To locate the length of the nose and line of the mouth, divide
the face into three equal parts. Allow this division to start at
the hairline, not the top of the head, and end at the chin. So onethird
from the hairline is the line of the eyebrows and twothirds
from the hairline is the location of the nose. Have I lost
you yet?
The third part is where we will locate the mouth. To do so,
divide this third part into thirds. One-third down from the line
of the nose is the line of the lips. Now, re-establish the outline of
the head to better fit the features. .
TO CHECK YOUR creation (or creature), the width of the
bead at the eyes should be about the same as the distance from
the line of the eyes to the chin. Remember, also, the hairline (or
in my case where the hairline use to be) is not at the top of the
head. The hairline is down from the top of the head about the
same distance as the lip line is from the line of the nose.
One other check is that the width of the nose is usually equal
to the distance between the eyes. Locate the ears somewhere
between the line of the eyebrows and the line of the lips.
The hair on the head should be drawn so that it is larger than
the beginning shape of the head. Often beginning students plaster
the hair down so that it's exactly the line of the head
The eyes and mouth are the shapes they are because of the
** • artifacts
David
Me—Ing
HAIRLINE.
The construction of the human head ia firat a study in
proportion.
underlying muscles. The skin wrinkles perpendicular to the direction
of the muscles. This is why we develop radiating wrinkles
around the mouth and those (awful on women, distinquished
on men) crows feet outside the eyes.
The construction of the nose and ears is mostly cartilage. For
this reason, the nose stays pretty smooth most of our lives. So if
you are upset about your crows feet, maybe you'll feel better if
you just brag about how smooth your nose is.
David Messing has been an art teacher for 10 years. He
is the owner of the Art Store & More in Liixmia. He welcomes
comments and questions from readers. These can
be directed to him in care of this newspaper at 36251
Schoolcraft, Livonia 48150. s
Oakway to present 'Artists of Tomorrow'
"Artists of Tomorrow" will be the focus of the concert at 3
p.m. Sunday of the Oakway Symphony, under the direction of.
Francesco DiBlasi.
The concert will be held at Livonia Ladywood High School,
Newburgh Road between Five Mile Road 1-96.
First-place winner of the symphony's annual competition
was pianist Theresa Mack with "Nights in the Garden of
Spain." Second-place winner was Suzanne Blanker, violin,
playing the first movement of the Sibelius Concerto. Third
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place went to violinist Kathy Cho playing the first movement
of the Paganini Concerto No. 2.
Other winners were tenor Gregory Robinson, who performed
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Melissa Taylor for her performance of the first movement of
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Tickets are available at Hammell's Music Store in Livonia,
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Thursday, February 19. 1967 O&E
REFINANCING or BUYING
A NEW HOME
LET TIME BE YOUR
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tocfc
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