important tools that make your portrait lighting units either more dependable or more versatile. They aid in creating the exact lighting affect you want. Common accessories are as follows: diffusers, barn doors, snoots, and  umbrellas.  If  accessories  are  not  available, compromises in the lighting can alter the effect and quality  you  desire. Diffusers.–You use diffusers when you want to change specular light to a softer, more diffused light. Diffusers are made of translucent or mesh materials that,  when  placed  in  the  light  beam,  break  up  or diffuse and soften the light. The finer the mesh, the more diffused the light. When only a small amount of diffusion is needed, a wide mesh material, such as gray  window screen, works well. For more diffusion, two pieces of screen can be placed together slightly out of alignment, or a finer mesh material, such as white  cheesecloth,  can  be  used.  Floodlights  initially produce a fairly diffused light, but diffusers may also be used with them. Diffusers can be mounted on the light unit or placed somewhere between the light unit and your subject. There  are  many  reasons  for  using  a  diffuser  instead of a light that already produces diffused light. A diffuser may be needed when you do not have a soft light available.  A  softness  that  is  between  two  different  light sources may be needed, or you may want to produce a small area of diffused light that can only come from a spotlight  with  an  installed  diffuser. Barn Doors.–Barn  doors  are  made  from  opaque material. They are usually made of metal, painted black, and attached and hinged to the front of a light unit. They can be positioned to block or feather a portion of the light produced by the unit. Barn doors are made for both spotlights and floodlights. They are good accessories for controlling  spill  light. Snoots.–Snoots are cylinders, open at both ends, usually made of metal and painted black. They are used at the front of a spotlight to limit the size of the circular area  projected  by  the  unit.  Short,  wide  snoots  give  a  large circle of light. Long, narrow snoots give a narrow circle of light. A cardboard tube or black-rolled paper can be used for a snoot when you need to improvise. Umbrellas.–Umbrellas   work   much   like   the reflectors used on floodlights and provide an excellent means of converting specular light into soft, diffused light. They are used with any light source. The light unit is pointed away from the subject; the umbrella is 7-4 attached in front of the light and reflects or bounces the light back and onto the subject. The reflected light falling on the subject is softer and more diffused than the  light  originally  emitted  by  the  source. The reflecting surface of the umbrella determines the quality of the light. Umbrellas are usually made with a  matte,  white  surface  that  provides  a  very  soft, completely   diffused   light.   Some   umbrellas   are constructed with a shiny, metalized surface. Metalized umbrellas throw a somewhat specular light, but the light is softer and spread over a larger area than the light emitted  by  the  original  light  source. FILM  FOR  PORTRAITS For   black-and-white   portraits,   black-and-white panchromatic film is generally used. With a pan film, the appearance of any red spots, veins, or redness in the subject's skin is apparently reduced in the final print, because of the sensitivity of the film to red. Conversely, an orthochromatic film can be used when the texture of a  man's  skin,  especially  an  older  man,  is  to  be emphasized. When  you  select  a  color  film  for  portrait photography,  there  are  two  important  considerations: What type of product is to be produced and what is the color of the light source? Another factor to consider in selecting a film for portraiture is the ISO film speed in relation to the intensity of the light source. A slow film can be used successfully with a light source that has relatively high intensity, such as an electronic flash unit. When the same slow film is used with a light source that has relatively low intensity, an extremely wide aperture must  be  used.  When  a  fast  film  is  used  with  a high-intensity  light  source,  a  smaller  aperture  is required, increasing the depth of field which may not be  desirable  for  portraiture. When you are shooting portraits, do not be stingy with film. With a medium-format camera, you have 9 to 15   frames   to   work   with.   When   you   have   the commanding officer or the admiral in the studio for a portrait, shoot at least the entire roll. Never shoot just three or four frames. Film is cheap and you want to provide the customer with a variety of poses and expressions  to  choose  from. MAKING  THE  APPOINTMENT When possible, portrait times should be made by appointment. Using an appointment system gives you a