Art Principles In Portrait Photography

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

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introduction of fantastic accessories. These acces sories are a collection of lines, spots, lights and darks, that lead nowhere, that have no discernible purpose. They are supposed to be beautiful because they are unusual, - not found in our homes or our daily life. Examined for their own sake they are to say the least not artistic. As objects to be used with a figure in portraiture they are an obstruction, useless because unreal, ugly and senseless in form. The human figure offers wealth of beauty; all the charm inherent therein should be exhausted before we think of employing accessories. If the character of the representation re quires it, articles of furniture may be used to balance the figure, but the more simple such objects the easier it is to control them, to subordinate them to the main thing, which is of course the human interest.
The mistake made by photographers who are addicted to the use of "ornamental" studio property in their portrait work is based upon their belief that anything unusual or, according to their ideas, beautiful can be placed in a picture to advantage. Education must help us to understand what is beautiful in fur niture and in architectural forms; it must aid us in reading nature in order that we may use nature's forms intelligently in pictorial work. For instance, we will photograph some grasses, "a bit of nature," -Fig. 2. We speak of them by that term. We designate in the