Art Principles In Portrait Photography

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

Home | About | Photography | Contact

in size is made by the hand, and the third shows only part of the hand. These spots being of unequal size, the mind is directed from one to the other, the eye passing from the frame limit by way of the small spot on the right, thence to the other hand and then to the head, where it rests; or it may be that the attention is drawn in from the frame line at the top, fastens upon the large spot forming the head, and though virtually held there is attracted downward by the lesser spots of the hands and is made conscious of the whole picture surface. This is a successful expression of the artist's wish, his desire being to paint a portrait in which, of course, the head holds the chief interest.
Let us suppose that our picture plan must conform, not to a portrait, but to an illustration in which a news paper held in the hand is to receive a preponderance of interest. We can draw notice away from the face to the newspaper and the hand by the principle shown in Fig. 25. Here again the largest spot gains and holds our attention. But if inexperience has led us to plan a portrait as sketched in Fig. 25, we may still be able to draw the observer's thought from the newspaper and most comfortably establish it upon the face by the simple device illustrated in Fig. 26, - the intro duction of a window possessing such characteristics that the right portrait-balance is established.
The photographer who has long cherished marginal