One thing I forgot to mention on the subject of portraiture is the difference between formal portraiture and informal portraiture. As an example of the latter, check Cartier-Bresson's portrait of Ezra Pound. According to Henri's recollection he went to shoot Pound and the two of them sat there without saying a word to each other for about twenty minutes. During that period Henri shot a picture that fits Pound and his poetry exactly. It's truly fine art. Based on that picture and some of Henri's other informal portraits: Camus, Sartre, the Curies, etc. I'd be tempted to say that Henri's kind of informal portraiture is far more revealing than formal portraiture -- and it usually is. But then there's Karsh, who shoots holes in that idea as a general theory.