Art Principles In Portrait Photography

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

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ART VERSUS NATURE
to natural law to make it appear detached in a vast space that is blank. If the grass is blown through the air by the wind, it is at least moving, never suspended motionless.
As soon as we make a reasonable boundary to the space in which the grass is to be represented, this in congruity is obviated. Such a limit must necessarily be an artificial one; it is commonly called a frame. In Fig. 12 we have such a frame containing the grass stalk. The eye can at the same time see the grass and be conscious of the frame, for a relation is established between the two; but as it here stands no one will say that the result is beautiful or impressive. Therefore we have to face another principle. A logical relation *' must be established between the motive (which in this case is the grass), the frame, and the full area bounded by the frame. The motive should always hold our interest, therefore it must dominate the space. When this blade of grass is impressively placed upon the pic ture plane, it causes certain space divisions, and it is the character of these divisions that makes or prevents beauty. Contrasting Fig. 13 with Fig. 12, the space-dominating character of the grass in Fig. 13 seems logical and impressive as compared to its condition in Fig. 12. Figure 13 is faulty, however, in one essential, namely, its sameness of space division, which in Fig. 14
is exposed. The grass cuts the picture space so that
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