Art Principles In Portrait Photography

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

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weakening its forward movement by controversies of this kind. It must strike at the foundation of the whole question, and this is and always will be art. When pursuing it, we are "space-fillers," men who control lines and light and dark to convey the meaning we have within us. We cannot transcribe all nature that is about us, because nature has innumerable truths -called phases. The camera as well as the brush can treat only certain of these truths to which the mind is open or sensitive. And the more we practise the more we see to interpret; in the same ratio do we learn to make our tool - the camera or the brush - record the newly grasped truths and newly felt sentiments. The only limit to progress in the artist and his art, either in photography or painting, is in the limit of his mental and soulful range.
The greatest obstacle the modern photographer encounters is his adherence to an idea that the camera "holds a mirror up to nature," that it is "true to na ture." If that were so, photography would be for all times contained among the sciences and debarred from art. For nature is never art, nor does nature as a whole ever affect us as art. In art we are dealing strictly with the mental and emotional faculties more or less developed in each individual. These faculties respond when, on a flat surface such as paper, we find certain emotional and intellectual records of things we have