ON ANTHROPOMETHIC INVESTIGATION IN THli BKlTlSH iSLES. 379 



Full-length Pokteaits. 



A full-growu mau can be photographed easily at full length on a ' half- 

 plate ' (85" X 6|") on the scale of J^, and on a ' quarter-plate ' (4^" x 3^") 

 on the scale of -g. But 'half-plate' and 'quarter-plate' are both just 

 too small to admit head-and-shoulders portraits on the scale of g and 

 i respectively. 



Note, however, that the Ecole d' Anthropologic de Paris has adopted the 

 scale of jy'j ( = fS5= i) for full-length work, the object bein.q; to secure 

 full-length portraits on the French ' 13 x 18cm.' plate (approximately 

 the English 5" x 7" size). See Bev. Ec. Anthr. viii. (1898), p. 109. 



HeAB-ANB-ShOULDEKS POETKAITS. 



The 'half-plate' and 'quarter-plate' are just too small to admit with 

 .security a head-and-shoulders portrait on the scale of h and \ respec- 

 tively. 



The French scale for tliese portraits, and for other parts of the bod^- in 

 detail, is j§( = io = f)' which permits a head-and-shoulders portrait to be 

 taken easily on a '13 x 18cm.' plate, and with ample margin on a 'half- 

 plate.' Similarly on the scale of l a ' head-and-shoulders' portrait can be 

 taken easil}' on a ' quarter-plate.' 



Scale and LaheL — A board, 011 which is marked very legibly a scale 

 of feet and inches and also a ' metric ' scale, should be suspended over 

 the head of the subject in the plane of his profile, and so as just to fall 

 within the photographic picture. This is the only certain method of 

 preserving a record of the scale, and also makes it easy to secure what- 

 ever scale of reduction may be adopted, by comparison of the image of 

 this board with a line or rectangle of proportional size drawn on the 

 focussing screen of the camera. 



The name of the district and of the sitter (or at all events a distinctive 

 letter or number) may be written with chalk or charcoal on this same 

 board, thus securing the identification of each subject. 



Background. — The background should be at a considerable distance 

 from the subject. It should be of a medium tint (say a deep shadow, or 

 a sheet of light brown or french-grey paper pinned against the wall 

 beyond), very dark and very light tints being both unsuitable. Some, 

 however, use dead black ; others, red baize. A soft material which does 

 not readily crease obviates trouble from accidental shadows. In any case 

 due allowance must be made for the complexion or skin colour of the 

 persons to be photographed ; and preliminary exjDeriment is advisable. 

 A note should be made of the colour of the background, and also of the 

 complexion or skin colour of the subject. 



The essential condition is that the outlines of the figure shall be clearly 

 defined against the background. 



Illumination. — The incidence of the light should be the same in all 

 cases, otherwise the photographs are difficult to compare, and cannot be 

 •used to make composite portraits. 



The source of light should be single, definite, and plaped behind the 

 camera and above it, so that the shadows may be equally distributed 

 on either side of the face. This is especially important for composite 

 work. 



The light, however, must not be so strong or concentrated as to 

 distress the subject or cause him to clo.'ie or strain his eyes. But note 

 that subdued light involves longer exposure. A dark background behind 

 the camera relieves eye-strain, without cutting off top-light. When the 



