Art Principles In Portrait Photography

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

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same way a chair, vase, rug, drapery, bird, or any animate or inanimate object. Some people have the impression that when dealing with art the term "na ture" is understood to designate either human nature or the landscape as a generality, whereas the word is applied to any visible thing in which we find an emo tional pleasure tempting us to reproduce its appear ance or such a part of it as will serve to convey the impression that has been made upon us.
If we take in our hands the bunch of grasses and look at it, does it give us pleasure ? It hardly produces the same enjoyment that we feel when we see it grow ing in the field where it is in its natural place and lives in the wind and the light. In our hand it is but a specimen. If we wish to make it beautiful now, we must treat it as the Japanese flower arrangers do: we must select, reject, and rearrange the parts of this bunch until the lines and masses again establish a condition of beauty.
The same is true in the representation of an indi vidual. In a snap-shot of a person on the street as he stands or walks, we have again a fragment of nature that is material to work upon, but is thus far untouched by our thought or feeling. We must fuse ourselves into it before it can have beauty or meaning; that is where art begins. A bit of nature taken from its natural place and made a fragment by our action is not beauti-