The foregoing figures illustrate several phases which influence our judgments and the wonder is that we do not make more errors than we do. Of course, experience plays a large part and fortunately experience can be depended upon in most cases; however, in the other cases it leads us astray to a greater extent than if we had less of it. The photographer, perhaps, recognizes more than anyone else the pitfalls of lighting but it is unfortunate that he is not better acquainted with the fundamentals underlying the control of light. Improper lighting does produce apparent incongruous effects but adequately controlled it is a powerful medium whose potentiality has not been fully realized. The photographer aims to illuminate and to pose the subject with respect to the source or sources of light so that undesirable features are suppressed and desirable results are obtained. Finally his work must be accepted by others and the latter, being human, possess (unadmittedly of course) a desire to be "good looking." Lighting may be a powerful flatterer when well controlled and may be a base revealer or even a creator of ugliness. Incidentally, the photographer is always under the handicap of supplying a "likeness" to an individual who perhaps never sees this same "likeness" in a mirror. In other words, the image which a person sees of himself in a mirror is not the same in general that the photographer supplies him in the photographic portrait. The portrait can be a true likeness but the mirrored image in general cannot be. In the mirror there is a reversal of the parts from right to left. For example, a scar on the right cheek of the actual face appears on the left cheek in the mirror. Faces are not usually symmetrical and this reversal causes an individual to be familiar with his own facial characteristics in this reversed form. This influence is very marked in some cases. For example, suppose the left side of a companion's face to be somewhat paralyzed on one side due to illness. We have become more or less oblivious to the altered expression of the left side by seeing it so often. However, if we catch a glimpse of this companion's face in the mirror and the altered expression of the left side now appears upon the right side of the face, the contrast makes the fact very conspicuous. Perhaps this accounts for the difference which exists between the opinions of the photographer (or friends) and of the subject of the portrait.