Art Principles In Portrait Photography

How to Apply the Highest Classic Artistic Principles to your Photography.

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PREFACE
Photography has touched the life of every one. It has supplanted to a large extent the use of the pencil and the brush, as it overcomes the average person's inability to draw with accuracy the objects before him. The exact and forceful lens of the camera renders nature sufficiently well to hold the interest and gratify the scientific wish for a clear reproduction. To this extent photography is a convenience, but as yet it is a tool almost uninfluenced by the mind of the operator. The processes inherited from Daguerre remain prac tically unchanged to-day. Their results are known popularly as "good straight photography," and as now practised they are singularly unsuited to artistic work and wholly impossible for the expression of pic torial thought.
Enslaved by commercialism, this plain photography has run into a lifeless groove. It has established a realism tending to preclude that nourishment and refreshing mental influence found in suggestion and in the creative powers resulting in beauty. Its direct result has been to instill in the public a taste for literal ism chilling in its effect upon every form of art.
Art in photography is possible only in an extension of the methods known and in the employment of new processes to effect a manipulation of the photo-image. When the tool is made so pliable that it records more than the surface appearance of things, when the per-
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