5.5.2 Skirts and breeching Look carefully at Images 46, 47 and 48. 5.5.1 Christening The christening dress h 5.5 Rites of passage 5.4 Special occasions Special occasions could inc 4.10 Retouching In addition to the efforts made before exposure to show sitters at their best, portrait photographers regularly retouched the negative to remove or improve any perceived defects or blemishes. Before the 1860s, in Britain retouching was generally criticized for interfering with the ‘truthfulness’ of the photographic image. By the mid-1860s, however, the issue became the subject of intense debate and discussion and the journals published details of the various techniques available at the ti 4.9.3 Limited characterisation The other function of lighting was, inevitably, to assist characterization. Since Robinson advised portrait photographers to show sitters as moderately calm ladies and gentlemen, the lighting in commercial work is usually quiet and uniform, without dramatic contrasts of light and shade. This was intended to suggest tranquillity, harmony and self-control, in keeping with the limited stereotypical characterization discussed previously. The use of lighting to convey dramatic characterizati 4.9.2 Idealisation Early photographers were adept at using natural lighting to idealise the sitter. Manuals of good practice were full of advice on adapting the lighting to soften wrinkles and wreathe blemishes in shadow. For ladies of a certain age, who often give the photographer a deal of trouble, it is advisable to employ a very soft light falling in front, which softens the wrinkles and protuberances of the face, and obliterates 4.8.3 Personal possessions Most accessories in studio portraits were supplied by the studio. However, it was not uncommon for sitters to introduce items that held a special significance for them, such as children's toys, competition trophies and awards gained in the course of a career. As we should by now expect, any personal items were intended to reflect credit on the sitter. If we can distinguish the routine studio accessory from the prized personal possession, we may be able to elicit a few more nuggets of in Activity 3 Various stock types of difficult sitter recur in the literature. Painters, of course, posed the biggest threat. Other difficult customers included those accompanying sitters: the gentleman with the lady, the mother with the child, the owner with the pet. 3.4.1 Control of the sitter Photographers prov 3.2 Idealisation There were fundamental principles of painted portraiture that affected every element of the portrait, from expression and pose to background and lighting. The first imperative was the need to idealize the sitter. 3.1 Introducing ideology in portraiture Portraiture emerged as the first m 2.4 National variation Relatively little research has been undertaken by photohistorians in the field of domestic photography. However, we should be aware that photography developed in different ways in different countries. So, for example, in Britain the daguerreotype remained a luxury article, as high prices restricted sales to the comfortable classes, whereas in America, because of early mass production techniques, studios could offer 4 daguerreotypes for 1 dollar. Photography was, however, a European inve 2.1.1 Card mounted photographs 1860–c.1914 Glossary 3 Conclusion In this unit you have been introduced to the main components of prose fiction and have been given the opportunity to develop and practise your critical and analytical skills. These are essential skills you will need to continue your stufdies in this area. 2.5 Characterisation How do writers of prose fiction make us respond to the imaginary people they create? In order to encourage us to continue reading writers must force us to react in some way to their characters, whether it is to identify, empathise or sympathise with them, to dislike or disapprove of them, or to pass judgement on their actions, behaviour and values. As we have already seen, the fundamental question we repeatedly ask when we read a story is what happened next. Equally importantly we want to kno 2.2 Narrative events Any narrative is made up of a series of events or incidents, arranged in a particular way. This can be defined as the plot of the story. Consider, as an example, Ernest Hemingway’s appropriately entitled ‘A Very Short Story’ (Hemingway, 1944, pp. 135–6). Different readers will summarise the story in different ways, allocating different levels of significance to various narrative events. If you can access a copy of the story, you might like to try and summarise it yourself and compare Learning outcomes By the end of this unit you should be able to: recognise and discuss selected library texts from the Renaissance to the present; know how to approach literary texts in terms of genre, gender and the canon; understand and be able to apply technical analytical terms; engage in close analysis of narrative and poetic language; recognise performance is an interpretation of dramatic texts; engage in comparative Introduction This unit investigates certain philosophical questions concerning the nature of emotions. This unit is an adapted extract from the Open University course Thought and experience: themes in the philosophy of mind (AA308).
Author(s):
Characterisation
The revelation of character through techniques such as physical description, action, dialogue, interaction with other characters, and the depiction of thought, emotion and belief.
Dialogic
Describes a narrative in which multiple voices, perspectives or discourses are present and engage and interact wit
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Image 46 Photographer/Painter: Hills & Saunders, Eton. Subject: Michael Cahne Seymour, 1871.
Image 45 Photographer/Painter: James Pennington, Aigburth. Subject: Unknown woman and child, 1860s. Christening portrait.
Image 44 Photographer/Painter: Anon. Subject: William Arthur Brown, the son of James Brown standing in the doorway of Brown & Sons Studio, 148 Camberwell Road, London, c.18
Image 43 Photographer/Painter: Warwick Brookes, Manchester. Subject: Helene Witte in her gown for a fancy dress ball.
Author(s):
Image 11 Photographer/Painter: Studio of Richard Beard. Subject: Jabez Hogg photographing W.S. Johnston, early 1840s.
Image 9 Photographer/Painter: French School. Subject: Portrait of a nobleman seated at a desk, c.1750.
Image 3 Photographer/Painter: Anon.
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