Steckbriefe – OPwiki — Das Wiki für One Piece
Aus OPwiki
| Gesichtet (zur aktuellen Version) | |||||||||||
| Dies ist die letzte gesichtete Version, freigegeben am 11. September 2022. Der Entwurf enthält Änderungen an Vorlagen/Dateien, die auf eine Sichtung warten.
|
Wechseln zu: Navigation, Suche
| !!! SPOILER WARNUNG (anzeigen) !!! |
Inhaltsverzeichnis
|
Originale aus dem Manga
Hinweis: Hierbei handelt es sich um Steckbriefe, die im Manga in genau dieser Ausführung vorkamen.
Strohhutbande
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Steckbriefe bekannter Kopfgelder
| Mikio Itoo[15] | Grizzly[16] | Jacko, der Hypnotiseur[17] | Wellington[18] |
| Buggy, der Clown[19] | Don Creek, der Pate[20] | Arlong Sägehai[21] | Foxy Silberfuchs[22] |
| Bentham der Wildnis alias Bon Curry alias Mister 2[23] | «Ritter des Meeres» Jinbei Steckbrief aus der Vergangenheit (erstes Kopfgeld)[24] |
Nico Olvia[25] | Sir Crocodile alias Mister 0 ehem.  , da später Samurai[26] |
| Woogey, der blaue Teufel & Boogey, der rote Teufel[27] |
«Feuchthaar» Caribou[28] | «Abenteurer» Fisher Tiger Steckbrief aus der Vergangenheit[29] |
«Weißes Pferd» Cavendish[30] |
| «Himmelsdämon» Don Quichotte de Flamingo[31] | «Chirurg des Todes» Trafalgar Law (erstes Kopfgeld) Sein vollständiger Name lautet «Trafalgar D. Water Law»[32] |
«Feuerfaust» Ace[33] | |
| «Tausend Arme» Charlotte Cracker[34] | Charlotte Linlin als Kind Erstes Kopfgeld[35] |
Charlotte Linlin in jüngeren Jahren Zweites Kopfgeld[36] |
«Blackbeard» Marshall D. Teach[37] |
| «Gang» Capone Bege[38] | «Rothaar» Shanks[39] | «Big Mom» Charlotte Linlin[39] | Kaido der 100 Bestien[39] |
| «Whitebeard» Edward Newgate[39] | «König der Piraten» Gol D. Roger[39] | ||
Originale aus den One Piece Magazinen
| «Strohhut» Ruffy | «Feuerfaust» Ace | Sabo | «Chirurg des Todes» Trafalgar Law | «Piratenjäger» Lorenor Zorro |
| «Diebische Katze» Nami | «Gott» Lysop | «Schwarzfuß» Vinsmoke Sanji | «Schleckermaul» Chopper | «Teufelsmädchen» Nico Robin |
| «Eisenmann» Franky | «Soul King» Brook |
Offizielle Fahndungsfotos der Weltregierung
| «Kurier» Mikita alias Miss Valentine[46] | «Landesgrenze» Gem alias Mister 5[47] | Fiffie[48] | «Stadtfalle» Drophy alias Miss Merry Christmas[49] |
| «Baseball-Crack» Babe alias Mister 4[50] | Marianne alias Miss Goldenweek[51] | «Giftspinne» Zala alias Miss Doublefinger alias Pola[52] | «Killer» Jazz Boner alias Mister 1[53] |
| «Magier» Basil Hawkins[54] | «Grollen des Meeres» Scratchmen Apoo[55] | «Captain» Eustass Kid[56] | Dragon[57] |
| «Falkenauge» Mihawk Dulacre[58] | «Tyrann» Bartholomäus Bär[59] | «Piratenkaiserin» Boa Hancock[60] | «1000-Münzen-Clown» Buggy[61] |
| «Dürre» Jack[62] | «Ritter des Meeres» Jinbei[63] | «Big Mom» Charlotte Linlin & Kaido der 100 Bestien[64] |
Steckbriefe unbekannter Kopfgelder
| «Calico» Yoki[65] | Van der Decken IX. [66] |
«Mad Lightning» Soldat[67] |
Originale aus Fillern
Hinweis: Hierbei handelt es sich um Steckbriefe, die einzig im Anime in genau dieser Ausführung vorkamen.
Steckbriefe bekannter Kopfgelder
| Tohenbok | Henna Oyag | Hitokui | D. R. |
| Wild Joe | Pandaman | Garry, der Sichelbärtige | Spiel, der Sechseckige |
| Alvida mit der Eisenkeule | Dick | Wetton | «Superhirn» Black |
| Mondsichel | Pazuhl, der Phönix | Usanksai | Tacobo |
| Sard | «Kannibale» Bartolomeo | Boblat | Tambu |
| Pinkbeard | «Feuerfaust» Ace | X. Drake
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«Piratenkaiserin» Boa Hancock |
| Shanks (während Ruffys Kindheit) |
Steckbriefe unbekannter Kopfgelder
| Ace mit der Flammenfaust | Dareda | Dontacos | Unbekannt | Mobu Head |
Originale aus Movies
Steckbriefe aus dem Movie 1
| Golass | «Goldpirat» Unan |
Steckbriefe aus dem Movie 2
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| Boo Jack | Skunk One | Honey Queen | Pin Joker |
| Bear King |
Steckbriefe aus dem Movie 3
| «General» Hotdog | «Präsident» Heavy |
Steckbriefe aus dem Movie 4
| A A A | Vigaro, der Erhängte | Willy | Needless |
Steckbriefe aus dem Movie 6
| Red-Arrows-Piratenbande |
Steckbriefe aus dem Movie 9
| Koba K |
Steckbriefe aus dem Special
3D2Y
| Byrnndi World Steckbrief aus der Vergangenheit (erstes Kopfgeld) |
«Weltenzerstörer» Byrnndi World |
Steckbriefe aus dem Movie 13
| Ben Beckman | Bepo | «Graf» Butler | «Bigknife» Cirkies | |
| Caesar Crown | «Grim Reaper» Doc Q | Dopp | «Teufelserbe» Douglas Bullet | |
| El Drago | «Service» Lip Doughty | Lucky Lou | «Phönix» Marco | |
| «Falkenauge» Mihawk Dulacre | Pekoms | «Dämonensheriff» Raffit | Rockstar | «Goldener Löwe» Shiki |
Fakes
Werbeaktion
| Sanji (Fake) [ 1 ] | Lorenor Zorro (Fake) [ 1 ] |
[1] Anmerkung:
Bei den Steckbriefen von Zorro (20.
000.000) und Sanji (15.000.000) handelt es sich um
Steckbriefe, die als Werbeaktion zusammen mit den Actionfiguren verkauft wurden. Sie sollten somit also ein Kaufanreiz sein. Die Summen sind somit durchaus Fakes, die Steckbriefe sind aber nicht von Fans erstellt worden. Die beiden Bilder kommen, so wie sie dargestellt werden, auch nicht im Anime oder Manga vor.
Quelle
Fan-Made-Fakes
| Beispiel: Kaido (Fake) [ 2 ] (Bild ist ebenfalls nicht bestätigt) |
[2] Achtung:
An dieser Stelle sei außerdem angemerkt, dass es im Internet auf diversen Seiten von Fans erstelle Steckbriefe gibt, sogenannte «Fakes», meistens werden dabei falsche Kopfgelder, samt dazugehörigen Steckbriefen von Größen wie Shanks, Dragon, Falkenauge, oder auch Whitebeard und Gol D. Roger erstellt und im Internet als Originale ausgegeben. Dieser Artikel zeigt alle derzeit bekannten Steckbriefe, die im Manga, Anime und in Movies erschienen sind, alle hier nicht aufgelisteten Steckbriefe sind demnach nicht von Seiten Odas bestätigt.
ehemalige Quelle vieler Fake-Steckbriefe
Referenzen
|
Steckbriefe – OPwiki — Das Wiki für One Piece
Aus OPwiki
| Gesichtet (zur aktuellen Version) | |||||||||||
Dies ist die letzte gesichtete Version, freigegeben am 11. September 2022.Der Entwurf enthält Änderungen an Vorlagen/Dateien, die auf eine Sichtung warten.
|
Wechseln zu: Navigation, Suche
| !!! SPOILER WARNUNG (anzeigen) !!! |
Inhaltsverzeichnis
|
5 Steckbriefe unbekannter KopfgelderOriginale aus dem Manga
Hinweis: Hierbei handelt es sich um Steckbriefe, die im Manga in genau dieser Ausführung vorkamen.
Strohhutbande
|
|
|
|
|
|
|
|
|
|
|
Steckbriefe bekannter Kopfgelder
| Mikio Itoo[15] | Grizzly[16] | Jacko, der Hypnotiseur[17] | Wellington[18] |
| Buggy, der Clown[19] | Don Creek, der Pate[20] | Arlong Sägehai[21] | Foxy Silberfuchs[22] |
| Bentham der Wildnis alias Bon Curry alias Mister 2[23] | «Ritter des Meeres» Jinbei Steckbrief aus der Vergangenheit (erstes Kopfgeld)[24] |
Nico Olvia[25] | Sir Crocodile alias Mister 0 ehem.  , da später Samurai[26] |
| Woogey, der blaue Teufel & Boogey, der rote Teufel[27] |
«Feuchthaar» Caribou[28] | «Abenteurer» Fisher Tiger Steckbrief aus der Vergangenheit[29] |
«Weißes Pferd» Cavendish[30] |
| «Himmelsdämon» Don Quichotte de Flamingo[31] | «Chirurg des Todes» Trafalgar Law (erstes Kopfgeld) Sein vollständiger Name lautet «Trafalgar D. Water Law»[32] |
«Feuerfaust» Ace[33] | |
| «Tausend Arme» Charlotte Cracker[34] | Charlotte Linlin als Kind Erstes Kopfgeld[35] |
Charlotte Linlin in jüngeren Jahren Zweites Kopfgeld[36] |
«Blackbeard» Marshall D. Teach[37] |
| «Gang» Capone Bege[38] | «Rothaar» Shanks[39] | «Big Mom» Charlotte Linlin[39] | Kaido der 100 Bestien[39] |
| «Whitebeard» Edward Newgate[39] | «König der Piraten» Gol D. Roger[39] | ||
Originale aus den One Piece Magazinen
| «Strohhut» Ruffy | «Feuerfaust» Ace | Sabo | «Chirurg des Todes» Trafalgar Law | «Piratenjäger» Lorenor Zorro |
| «Diebische Katze» Nami | «Gott» Lysop | «Schwarzfuß» Vinsmoke Sanji | «Schleckermaul» Chopper | «Teufelsmädchen» Nico Robin |
| «Eisenmann» Franky | «Soul King» Brook |
Offizielle Fahndungsfotos der Weltregierung
| «Kurier» Mikita alias Miss Valentine[46] | «Landesgrenze» Gem alias Mister 5[47] | Fiffie[48] | «Stadtfalle» Drophy alias Miss Merry Christmas[49] |
| «Baseball-Crack» Babe alias Mister 4[50] | Marianne alias Miss Goldenweek[51] | «Giftspinne» Zala alias Miss Doublefinger alias Pola[52] | «Killer» Jazz Boner alias Mister 1[53] |
| «Magier» Basil Hawkins[54] | «Grollen des Meeres» Scratchmen Apoo[55] | «Captain» Eustass Kid[56] | Dragon[57] |
| «Falkenauge» Mihawk Dulacre[58] | «Tyrann» Bartholomäus Bär[59] | «Piratenkaiserin» Boa Hancock[60] | «1000-Münzen-Clown» Buggy[61] |
| «Dürre» Jack[62] | «Ritter des Meeres» Jinbei[63] | «Big Mom» Charlotte Linlin & Kaido der 100 Bestien[64] |
Steckbriefe unbekannter Kopfgelder
| «Calico» Yoki[65] | Van der Decken IX. [66] |
«Mad Lightning» Soldat[67] |
Originale aus Fillern
Hinweis: Hierbei handelt es sich um Steckbriefe, die einzig im Anime in genau dieser Ausführung vorkamen.
Steckbriefe bekannter Kopfgelder
| Tohenbok | Henna Oyag | Hitokui | D. R. |
| Wild Joe | Pandaman | Garry, der Sichelbärtige | Spiel, der Sechseckige |
| Alvida mit der Eisenkeule | Dick | Wetton | «Superhirn» Black |
| Mondsichel | Pazuhl, der Phönix | Usanksai | Tacobo |
| Sard | «Kannibale» Bartolomeo | Boblat | Tambu |
| Pinkbeard | «Feuerfaust» Ace | X. Drake
|
«Piratenkaiserin» Boa Hancock |
| Shanks (während Ruffys Kindheit) |
Steckbriefe unbekannter Kopfgelder
| Ace mit der Flammenfaust | Dareda | Dontacos | Unbekannt | Mobu Head |
Originale aus Movies
Steckbriefe aus dem Movie 1
| Golass | «Goldpirat» Unan |
Steckbriefe aus dem Movie 2
|
|
| Boo Jack | Skunk One | Honey Queen | Pin Joker |
| Bear King |
Steckbriefe aus dem Movie 3
| «General» Hotdog | «Präsident» Heavy |
Steckbriefe aus dem Movie 4
| A A A | Vigaro, der Erhängte | Willy | Needless |
Steckbriefe aus dem Movie 6
| Red-Arrows-Piratenbande |
Steckbriefe aus dem Movie 9
| Koba K |
Steckbriefe aus dem Special
3D2Y
| Byrnndi World Steckbrief aus der Vergangenheit (erstes Kopfgeld) |
«Weltenzerstörer» Byrnndi World |
Steckbriefe aus dem Movie 13
| Ben Beckman | Bepo | «Graf» Butler | «Bigknife» Cirkies | |
| Caesar Crown | «Grim Reaper» Doc Q | Dopp | «Teufelserbe» Douglas Bullet | |
| El Drago | «Service» Lip Doughty | Lucky Lou | «Phönix» Marco | |
| «Falkenauge» Mihawk Dulacre | Pekoms | «Dämonensheriff» Raffit | Rockstar | «Goldener Löwe» Shiki |
Fakes
Werbeaktion
| Sanji (Fake) [ 1 ] | Lorenor Zorro (Fake) [ 1 ] |
[1] Anmerkung:
Bei den Steckbriefen von Zorro (20.
000.000) und Sanji (15.000.000) handelt es sich um
Steckbriefe, die als Werbeaktion zusammen mit den Actionfiguren verkauft wurden. Sie sollten somit also ein Kaufanreiz sein. Die Summen sind somit durchaus Fakes, die Steckbriefe sind aber nicht von Fans erstellt worden. Die beiden Bilder kommen, so wie sie dargestellt werden, auch nicht im Anime oder Manga vor.
Quelle
Fan-Made-Fakes
| Beispiel: Kaido (Fake) [ 2 ] (Bild ist ebenfalls nicht bestätigt) |
[2] Achtung:
An dieser Stelle sei außerdem angemerkt, dass es im Internet auf diversen Seiten von Fans erstelle Steckbriefe gibt, sogenannte «Fakes», meistens werden dabei falsche Kopfgelder, samt dazugehörigen Steckbriefen von Größen wie Shanks, Dragon, Falkenauge, oder auch Whitebeard und Gol D. Roger erstellt und im Internet als Originale ausgegeben. Dieser Artikel zeigt alle derzeit bekannten Steckbriefe, die im Manga, Anime und in Movies erschienen sind, alle hier nicht aufgelisteten Steckbriefe sind demnach nicht von Seiten Odas bestätigt.
ehemalige Quelle vieler Fake-Steckbriefe
Referenzen
|
Under the flag of the Queen — LiveJournal
Ladies and gentlemen!
I believe you are familiar with this tool, because almost every Victorian was exposed to it at least once in a lifetime :))
This is a kopfhalter, headrest, head holder — an indispensable attribute of a photo studio until the beginning of the 20th century.
This drawing shows a heavy cast-iron holder as seen in early daguerreotype studios. According to the testimonies of photographers (operators, as they were first called), dragging this tool from one corner of the studio to another served as a good portion of daily exercise. The holder, equipped with one or more pairs of adjustable «vices», helped the posing person to remain still. This tool looks intimidating, but the “fixed” client was not completely immobilized at all. Kopfhalter is not intended to cause physical inconvenience, but, on the contrary, for their relief and comfort.
Attempts to portray, as you might guess, were made immediately after the announcement of the discovery of Daguerre, which aroused public enthusiasm. The first volunteers, of course, suffered, trying to sit still in the bright sun (plus or minus 20 minutes) — they fainted or fell asleep.
Blinking, by the way, was allowed, because due to the long exposure it did not affect the final result.
However, in the early years of daguerreotype, it was sometimes necessary to “open” closed eyes with the help of retouching. But ways to improve the process and significantly reduce the exposure time (to one or two minutes) were found quite quickly, and in 1840-41 professional portrait photography studios began to open around the world.
They were usually located on the upper floors and attics of buildings and were equipped with a glass roof, sometimes, if possible, one or more glass walls to allow maximum access to light. Artificial lighting throughout the 19th century was almost never used.
The illustration shows a daguerreotype portrait studio from 1842.
The posing person (indicated by the letter b) sits in a chair located on a special raised platform — closer to the light. You can also see the kopfhalter. The platform could be rotated, adjusting the access of light.
An assistant (1) polishes a silver plate, which is then taken to a dark room (3) and exposed to chemicals.
The sensitized plate is then placed in the chamber, which in the figure is placed on a high shelf (Z). When the person being portrayed is ready, the camera lens is opened and the set time is kept by the clock (2).
Then the plate is returned to the dark room and developed with mercury vapor, and then the image is fixed, washed in distilled water and dried.
Finally, the finished portrait is inserted into a decorative frame with glass and presented to the client (4).
This daguerreotype telegrapher from the early 1850s I just liked.
Very soon, portrait workshops acquired equipment that became their integral part — furniture, screens, interchangeable backgrounds, columns and flowerpots made of plaster and papier-mâché, trinkets and other props.
Portrait photography is one of the most popular forms of commercial photography of all time. By the mid-1850s, portrait photography and stereo pairing had become the two main forms of commercial photography, lucrative industries that catered to the tastes of the mass public and had most of the claims that photography ever made.
If in the years of daguerreotype, photography was done by professionals, people who received a patent, had funds to buy materials, etc., then from the beginning of the 1850s, when the wet collodion process appeared, which accelerated and cheapened photographic production, people who began to earn money by photographing, it became more. Moreover, due to the greater availability of photography, there were more unprofessional photographers, there was a differentiation, a division of photography into cheaper, lower quality photography — into photography for the lower classes, for the middle classes, for aristocrats.
In 1854 another event took place that moved photography forward. Parisian photographer Dizderi patented a four-lens camera that could take eight prints on a single glass plate. It turned out eight pictures about 9×6 cm in size, which were called “business cards” — carte-de-visite and, of course, they immediately became popular. Although, no, they reached absolute popularity by the 1860s, after Dizderi photographed Napoleon III, and the famous English photographer Mayall photographed Queen Victoria.
The extreme popularity of «calling cards» has been called «cartomania» and has enriched fashion studio photographers like Dizderi. Collecting celebrity photos has become a massive hobby.
Eugene Dizderi. Pauline Viardot and Pierre-Jules Michaud, 1860.
These «business cards» were quite cheap, they cost — at mid-1850s prices — about 1 guinea or 20 francs or 4 dollars for 12 pieces — this was about half the price of on average for 1 daguerreotype, and then they became even cheaper as they spread.
Eugene Dizderi. Napoleon III, c. 1860.
Most of this stream of cards was made by photographers oriented to the «mass consumer».
And in the studios, so-called portraits of the “cabinet” format were usually made, approximately 10×14 cm, 11×15 cm in size, where special attention was paid to composition and details. Bust portraits were especially popular — head and shoulders.
In reputable studios, client comfort has been a particular concern.
The huge demand for business cards in the 1860s meant that many of the existing problems of lighting, developing and printing, entourage, etc. should be quickly settled. Typical photo studios changed little — until the end of the century. The norm was northern light pouring in from the high side windows. Lighting was controlled by screens and curtains. There was a large selection of interchangeable backgrounds representing something sublime — pastoral landscapes, castles and fortresses, stained glass windows, the sea, etc.
Many studios had at their disposal the popular 7 meter set of six backdrops per roll, featuring desert, lake, garden, staircase, living room and library. The more prestigious the studio, the more successful and popular was its owner, the more luxurious was the atmosphere, the more accessories were given to the client to choose from. Cannons, the deck of a ship, a set for archery — no question. In proportion to the prestige was the number of employees of the studio.
Laboratory assistants, retouchers, finished product designers, commercial agents, cleaners, after all.
Camille Silvi, Self-portrait, 1860s.
I must say that going to the photographer, especially in the early years, was a kind of ritual, an action of a downright historical order, especially for people who were somewhere at the bottom of the social ladder. However, this was also typical for the middle classes — a trip to the photographer required special preparation, a special hairstyle, special clothes, mood, concentration. By analogy with the traditional pictorial portrait, studio photography often represented social status. A person sought to emphasize his seriousness, dignity, respectability, or vice versa, his artistry, romanticism, etc. There were certain clichés of portrait photography, models on which the image was built. For example, a portrait in profile meant a contemplative, calm character, a frontal image implied dignity and firmness. Three-quarter turn — mobility, grace and grace.
A full-length portrait, especially in the early 60s, usually meant an analogy with a picturesque ceremonial portrait of the aristocracy.
Camille Sylvie. Prince Albert, c.1860.
In general, the majority of medium studio photographs are characterized by many conventions and limitations. For example, did you pay attention to the fact that among the photographed public of the 19th century, there are very few smiling people? If a person smiles, then, as a rule, this is due to his status: he is either a child, or a loving tender mother, or an actress.
Often the image of a person that was obtained in a photograph differed from the ordinary, everyday appearance of a person, and there were many jokes and criticism about this. And on the pages of periodicals, many photographers were advised to do something to somewhat revive the frozen and tense look of their portraits. Bulging eyes, convulsively clenched hands, excessive posturing, someone else’s expression, pomposity, «this is a beautiful portrait, but it is not my wife.
» “I don’t like that picture of Mary at all. The crinoline completely changed her character and made her a stranger to me. I would like to see her in the portrait as always — a nice girl without a crinoline, etc. — in general, an inexhaustible stream of claims.
“The judge has to look superhumanly insightful, the poet has to take on an otherworldly air, the humorist has to be jocular – all this together is very reprehensible. Even ladies are not always allowed to look natural. Photographers often ask ladies to ‘look pretty’ — an order that inevitably leads to a forced expression.
As for the special outfit, in addition to the natural desire to dress better, there were some other recommendations that photographers advised to follow. Special collections of instructions were issued on how to look in front of the camera.
Camille Sylvie, 1860s.
Early photographic emulsions were equally insensitive to some colors. So, yellow, orange and red became very dark, and pink, purple and blue became very light.
Accordingly, taking into account these features, it was recommended to dress and make up. Also, difficulties arose with the image of white clothes. Therefore, it was recommended to avoid a large amount of white, blue, pale pink. It was advised not to wear black velvet, brocade, gold and white waistcoats. But black silk came out well and was highly recommended, so in the photographs of the 1850s and 60s, many people appear in black silk.
“There is nothing better than black silk, which gives harmony and grace. If you are young and come to pose, the black border over the white around the skirt looks very impressive. Ladies not so young will look good in a plain black moiré antique. If the lady’s figure leaves much to be desired, you can elegantly wrap yourself in a black lace shawl and, in order to avoid disproportion, it is better to sit than stand. A dense light woolen fabric also looks good — I saw how charmingly the rep tartan came out. Blues and oranges should always be avoided — the former come out white, the latter black.
»
Camille Sylvie, 1860
Despite technical improvements, these tips were relevant throughout the 1860s. Babies were not favored by photographers, not only because of their fidgetiness (by the way, photographing children has always cost more than photographing adults), but also because they were invariably dressed in white. White dresses for brides, bridesmaids, and confirmation dresses were also a problem. Gentlemen in full dress were a difficult task due to the stark contrasts of black and white.
Camille Sylvie, c. 1860.
It was also recommended that clothing be adjusted to the individual characteristics of appearance in order to avoid unwanted contrasts.
“The color of the face and hair must be brought into line with clothing. Blondes should wear much lighter colors than brunettes. The latter look best in dark, and pure white is contraindicated for both. The beautiful golden hair loses all its charm and turns black. The simplest and most effective way to mask the yellowness of your hair is to powder it almost white.
The same is true for the face. Freckles, almost imperceptible to the eye, due to their yellowness in the photograph turn into something terrible. The powder box should become a constant assistant to our art.”
In general, the joint goal of both the photographer and the posing was to make a “beautiful face”, therefore, by specially thinking through the pose, organizing lighting and retouching, all sorts of flaws and defects could be corrected.
Retouching was generally widely used in portrait photography, and there was an ongoing confrontation between photographers who adhered to «pure art» and portrait painters who sought to please the client.
Famed, successful studio photographers have written and published notes, special guides, on how to shoot good portraits. Dizderi, for example, said that a good portrait is always a nice, pleasant face, a dignified appearance, the correct distribution of light and shade, good proportions, a little expression and an exact likeness.
