[Peter J. Fasi]

Marvin, I'm not sure what to make of your last comment. Apparently, you don't think too much of photographers in general.

I appreciate the work of painters such as Thomas Eakins, William Merritt Chase, Jacques Dominique Ingres, Joaquin Sorolla y Battista, John Singer Sargent, Rembrandt, Caravaggio, Vermeer, Goya, Velasquez and Rubens.

I also appreciate the work of great portrait photographers such as Karsh, Horst, William McIntosh, Arnold Newman, Victor Skrebneski, Duane Michals, Matthew Rolston, Mapplethorpe, Charis, Timothy White, Herb Ritts, Greg Gorman, Penn and others. I could go on and on, but what's the point.

You've already made it clear that you don't think too highly of the crop of photographic technique books that are on the market. What are the alternatives? I've done a great deal of research and I have yet to find a portrait painting technique book that devotes more than about four pages to the subject of lighting. I've also been to Art school. Didn't get much help there at the time, either.

Let me reiterate a point that seems to fall on deaf ears all around. The reason to use a light, - any light, is to create a desired effect. Generally that effect is to model the face or create some separation, or fill in a shadow area with just enough detail that would otherwise be lost due to the compressed latitude of most modern film emulsions.

I think Michele was looking for some direction, as in detailed examples of how to use light to create a 'pleasing' portrait. Instead she got a discourse on the philosophy of light in a portrait. A skillful artist can work miracles, so to speak, but how does one become a skillful artist without the proper direction? Who is to teach?

You do great work, BTW.