conversations.from: human
conversations.value: What could be a title for a book about Canton, Ohio, Portrait with the genre: Literature & Fiction, Contemporary?
conversations.from: assistant
conversations.value: A title for this book could be 'The Portrait'
conversations.from: human
conversations.value: What is a description for a book titled The Portrait about Vance, AudioFile, Portland with the genre: Literature & Fiction, Contemporary?
conversations.from: assistant
conversations.value: Simon Vance delivers a one-man bravura performance as a troubled, brilliant painter intent on righting the imagined and real wrongs of his career. To that end, the painter alternately menaces and charms an art critic who is sitting for his portrait--a critic whom he may hold responsible for ruining his career. Vance reads the narrative in a rich, well-modulated voice with superb enunciation and timing. He holds the listener throughout, not always easy to do when a book--even a good book--mostly consists of one character's monologue. A.C.S. AudioFile 2005, Portland, Maine-- Copyright AudioFile, Portland, Maine
conversations.from: human
conversations.value: What is a description for a book titled The Portrait about Fordham, University, Graduate with the genre: Literature & Fiction, Genre Fiction?
conversations.from: assistant
conversations.value: the author is a graduate of Fordham University Graduate School of Social Work and worked as a clinical psychotherapist in New York and California. He currently resides in Florida with his family.
conversations.from: human
conversations.value: What is the first paragraph for this book?
conversations.from: assistant
conversations.value: The Portrait
  Wonderful. Exhilarating. But. But. The Post-Impressionists weren't the latest French fashion, were they? Matisse and Picasso were already going beyond them. You pulled the wool over our eyes. Little did we know that things had already moved on. You knew, of course. You knew everything. But all those newfangled doctrines were too much even for you. The limits to your radicalism showed you up as the conservative you really were, and instead you set up as a confidence trickster, selling old goods as new. How pathetic you made us all seem, even as you were shocking us.
conversations.from: human
conversations.value: What is five more paragraphs?
conversations.from: assistant
conversations.value: The reviews for your show had run the previous week and were dreadful, the letters from outraged colonels and academicians had followed. Your show was a perfect disaster critically, and a fine success in every other respect. In a matter of days, everybody in the country who cared for such things now knew the names of Gauguin, Seurat, Degas, and all the others.
  We are back to my hobby horse again. The surface and the instant impression. Meet you, and one imagines you to be the perfect gentleman. Meet Evelyn for the first time, run off a sketch of her, rely on the artist's intuitive judgement and instant assessment and what do you get? A skinny little thing, who looks as though her lip might start trembling at any moment. Those slightly sloped shoulders; the sign of someone turning in on herself and afraid of reality. And sex, and femininity? Forget all that. A professional spinster, who would shudder should any man even think of touching her. A fearful timorous creature, easily broken. Inconsiderable, and not to be taken seriously. Some people stand alone because they are strong and disdain the world; others do so out of fear, desperate to belong and be accepted but not knowing how to do so, afraid of being spurned. One look and it was clear Evelyn was in the second category.
  Thus the dubious insight of the modern artist. But look at her as Raphael might, that lover of women. Or Rembrandt, who saw people's souls with his godlike gaze, or Vermeer, who could paint depths and levels of calm and show the turmoil within total placidity, and you see something different again. Then you see the brittleness, the force of will which impelled her to sacrifice everything for the single goal of being a painter. Not to make a living, not to be a success; those are low things, not worth the candle. But to follow her own instincts until she was content with what she produced. She wanted my biscuit tin, to get to that point which I have approached only once in my life. But her standards were higher than mine; she was one of those souls who can never be content in this life.
  You can't understand any of that; don't even pretend you can. For you art is politics, and Evelyn would not bend to your will. Why is it that you have had so much trouble with women when you find men so easy to control? Do women have to be bullied in different ways? Is another style required, one which is beyond your skill? Your wife. Evelyn. Jacky. You failed with all of them. Did they perceive something we did not? Did they see a weakness known only to yourself?
  Let me look at you. Do you know, I think I must have hit on it. You are truly angry at last. Was it the slip in mentioning Jacky, perhaps? After days of provocation, you have finally opened up to me. A new emotional register on your face, which I must take into account.
conversations.from: human
conversations.value: Delete the last sentence.
conversations.from: assistant
conversations.value: The reviews for your show had run the previous week and were dreadful, the letters from outraged colonels and academicians had followed. Your show was a perfect disaster critically, and a fine success in every other respect. In a matter of days, everybody in the country who cared for such things now knew the names of Gauguin, Seurat, Degas, and all the others.
  We are back to my hobby horse again. The surface and the instant impression. Meet you, and one imagines you to be the perfect gentleman. Meet Evelyn for the first time, run off a sketch of her, rely on the artist's intuitive judgement and instant assessment and what do you get? A skinny little thing, who looks as though her lip might start trembling at any moment. Those slightly sloped shoulders; the sign of someone turning in on herself and afraid of reality. And sex, and femininity? Forget all that. A professional spinster, who would shudder should any man even think of touching her. A fearful timorous creature, easily broken. Inconsiderable, and not to be taken seriously. Some people stand alone because they are strong and disdain the world; others do so out of fear, desperate to belong and be accepted but not knowing how to do so, afraid of being spurned. One look and it was clear Evelyn was in the second category.
  Thus the dubious insight of the modern artist. But look at her as Raphael might, that lover of women. Or Rembrandt, who saw people's souls with his godlike gaze, or Vermeer, who could paint depths and levels of calm and show the turmoil within total placidity, and you see something different again. Then you see the brittleness, the force of will which impelled her to sacrifice everything for the single goal of being a painter. Not to make a living, not to be a success; those are low things, not worth the candle. But to follow her own instincts until she was content with what she produced. She wanted my biscuit tin, to get to that point which I have approached only once in my life. But her standards were higher than mine; she was one of those souls who can never be content in this life.
  You can't understand any of that; don't even pretend you can. For you art is politics, and Evelyn would not bend to your will. Why is it that you have had so much trouble with women when you find men so easy to control? Do women have to be bullied in different ways? Is another style required, one which is beyond your skill? Your wife. Evelyn. Jacky. You failed with all of them. Did they perceive something we did not? Did they see a weakness known only to yourself?
  Let me look at you. Do you know, I think I must have hit on it. You are truly angry at last. Was it the slip in mentioning Jacky, perhaps? After days of provocation, you have finally opened up to me.
conversations.from: human
conversations.value: What is the last four paragraphs?
conversations.from: assistant
conversations.value: This one on the easel here can go to the Royal Academy exhibition; it will make a fine last tribute to an old friend and will probably rekindle my career very handsomely. They won't realise the flattery they see is more than mere obsequiousness, and will pay to have the same in their own portrait; I will happily oblige them. Then I'll present this one to your widow; I was the last person to see you alive, your oldest friend; it will be a kind gesture to assuage her grief. She will be grateful and—who knows?—maybe more than gratitude will result. I would make her a better husband than you did, old friend.
  THE STORM is reaching its peak. We must hurry; sometimes they blow out so quickly you are almost deafened by the sudden silence as the wind drops from gale force to nothing in a matter of seconds. You must experience its power first hand, otherwise you will never understand what I have been talking about. It will make the days you have spent sitting listening to me worthwhile. You must try, even though you are so feeble now; I will support you and ensure you get there. Do not worry. I will guide you to the best vantage point, so you can see what violence really is.
  We will take the path by the cliffs, I think. It is beautiful on a night like this, with the wind blowing and the ground still wet and slippery from the rain. All alone, for no islanders will be out on a night like this. You will feel that surge of danger I have mentioned, and know what it is to be afraid. It is more exhilarating than you can imagine, for it is foolhardy to venture near the edge. Many a man has slipped along there, and there is always the risk of falling into the sea. No-one could save anyone who does, no matter how quickly they run to the village and raise the alarm. Not even a strong swimmer could survive the undercurrents and avoid being dashed to pieces on the rocks, to be washed up, torn and broken, when the sea is finished with him.
  With thanks to Felicity Bryan, Julie Grau, Lyndal Roper, Nick Stargardt, and more than ever, Ruth Harris.
conversations.from: human
conversations.value: What is the first four paragraphs for this book?
conversations.from: assistant
conversations.value: The Portrait
  The language of portraiture involves more than technique. The meaning of a portrait is derived from what the image communicates about the subject. The difference between a good portrait and a driver's license photo lies in what is communicated about the person in the picture. Technique provides the tools that make the communication possible. But, as with any other language, portraiture does not communicate unless the speaker (the portraitist) has something to say.
  In this second edition, we once again present a complete system of portraiture and lighting, and how these ideas are used both in the studio and on location. Further, we describe how a careful analysis of the subject and their pose forms the basis of good portraiture. Our intention is not to eliminate personal style, but rather to demonstrate that style alone does not make good portraiture—just as the latest camera does not guarantee a good photograph.
  As educators, we believe that there is more to making great images than the technical portions of the process. First, we will go into light and lighting as tools to make the images. Next, we demonstrate how the combination of the setting, the pose, and the photographer's skill in relating to the sitter can lead to success as a portraitist. While we show specific examples of lighting setups, these are not unbreakable rules, but rather applications of tools that indicate potential solutions.
  We approach the technical side of portraiture with a concept called "LD," or "Light Dynamics." We define LD as those aspects and attributes of light that make it a useable tool to create portraits. It is the dynamics of light that give us the control to solve potential problems, whether by employing specular or diffuse light, changing the direction of light, controlling light ratios, and much more.
conversations.from: human
conversations.value: Delete the last sentence.
conversations.from: assistant
conversations.value: The Portrait
  The language of portraiture involves more than technique. The meaning of a portrait is derived from what the image communicates about the subject. The difference between a good portrait and a driver's license photo lies in what is communicated about the person in the picture. Technique provides the tools that make the communication possible. But, as with any other language, portraiture does not communicate unless the speaker (the portraitist) has something to say.
  In this second edition, we once again present a complete system of portraiture and lighting, and how these ideas are used both in the studio and on location. Further, we describe how a careful analysis of the subject and their pose forms the basis of good portraiture. Our intention is not to eliminate personal style, but rather to demonstrate that style alone does not make good portraiture—just as the latest camera does not guarantee a good photograph.
  As educators, we believe that there is more to making great images than the technical portions of the process. First, we will go into light and lighting as tools to make the images. Next, we demonstrate how the combination of the setting, the pose, and the photographer's skill in relating to the sitter can lead to success as a portraitist. While we show specific examples of lighting setups, these are not unbreakable rules, but rather applications of tools that indicate potential solutions.
  We approach the technical side of portraiture with a concept called "LD," or "Light Dynamics." We define LD as those aspects and attributes of light that make it a useable tool to create portraits.
conversations.from: human
conversations.value: What is four more paragraphs?
conversations.from: assistant
conversations.value: As with any light source, the distance of the fill reflector from the subject affects the intensity of light. The closer the reflector is to the subject, the more intense the fill. The more reflective the material, the higher the intensity of the light coming from the reflector, thus the stronger the fill. Finally, the larger the fill reflector, the more diffused the light will be.
  A crucial point with fill reflectors is whether they are in the pattern of light illuminated by the key or ambient light. Regardless of the material used in making the reflector, it will be more effective when it is lit. Even if only ambient light is available, the more light falling on the reflector, the more intense the fill.
  The reflector's angle also has an effect on the fill light. If the light illuminating the reflector has directionality, then the law of reflection (which states that the angle of incidence equals the angle of reflection) determines the direction of the light. Thus, reflectors can direct their light to specific areas on the subject. There will be different reflection patterns depending on the surface shape of the reflector.
  Reflectors can also be used to add color. Gold or warm tone reflectors are common, but any color reflector can be used. It should be noted that the reflecting color may mute other colors. Also, green reflecting onto Caucasian skin may gray the skin tone in the fill, whereas pink may heighten the skin tone. A reflecting fill may also be used to eliminate color by reflecting white light from the key light to counter ambient colors reflecting onto the subject.
conversations.from: human
conversations.value: Add another sentence about aimed.
conversations.from: assistant
conversations.value: As with any light source, the distance of the fill reflector from the subject affects the intensity of light. The closer the reflector is to the subject, the more intense the fill. The more reflective the material, the higher the intensity of the light coming from the reflector, thus the stronger the fill. Finally, the larger the fill reflector, the more diffused the light will be. 
  A crucial point with fill reflectors is whether they are in the pattern of light illuminated by the key or ambient light. Regardless of the material used in making the reflector, it will be more effective when it is lit. Even if only ambient light is available, the more light falling on the reflector, the more intense the fill. 
  The reflector's angle also has an effect on the fill light. Just like a mirror, any reflector can be aimed. If the light illuminating the reflector has directionality, then the law of reflection (which states that the angle of incidence equals the angle of reflection) determines the direction of the light. Thus, reflectors can direct their light to specific areas on the subject. There will be different reflection patterns depending on the surface shape of the reflector. 
  Reflectors can also be used to add color. Gold or warm tone reflectors are common, but any color reflector can be used. It should be noted that the reflecting color may mute other colors. Also, green reflecting onto Caucasian skin may gray the skin tone in the fill, whereas pink may heighten the skin tone. A reflecting fill may also be used to eliminate color by reflecting white light from the key light to counter ambient colors reflecting onto the subject.
conversations.from: human
conversations.value: What is the last five paragraphs? Start with the sentence 'During the photographic session, the attention of the subject may wane and adversely affect the outcome'.
conversations.from: assistant
conversations.value: During the photographic session, the attention of the subject may wane and adversely affect the outcome. There are clues to this situation. The subject's eyes provide good evidence of the engagement of the subject in the session. Lack of eye contact may indicate either shyness or disengagement; however, there is a point where the photographer may need to call on the rapport previously created with the subject to complete the session.
  While not universally recommended, there are times when aggressive actions produce desired results. When Yousuf Karsh made his iconic 1941 portrait of Sir Winston Churchill, he set up his camera to photograph Churchill at his desk with his back to the camera. Just as Karsh was ready to make the image, he grabbed Churchill's cigar. As Churchill turned and glared at Karsh, he pressed the shutter release and captured the image of a resolute Churchill. A similar technique has been used in recent times by Jill Greenburg to capture pictures of children crying. However, she took their candy rather than a cigar.
  Author and photographer Bill Hurter suggests that the inability to hold a pose can be a dead giveaway that the subject is disinterested or distracted. Both the subject and the photographer need to remain focused during the portrait session to make the portrait a success.
  In some situations, mostly in high-end or celebrity portraiture, a stylist is responsible for the makeup and attire. However, it ordinarily falls to the subject to prepare for the portrait session. Ensuring that the subject is ready to change their look, if necessary, also adds to the comfort of the photographic session.
  When the portrait is complete, the relationship with the subject needs to continue—even if there is nothing more to do than deliver the finished prints. It is vital to understand the long-term implications of the effort put into the relationship. For a portrait studio, it may be future print sales; for an editorial portraitist, it may be future assignments; and for the fine artist, it may be future projects. Experience shows that a successful portrait session leads to continuation portraits. Therefore, an experience with a subject that is successfully fulfilled may lead to revisiting the relationship through further portraits.