Art Principles In Portrait Photography

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

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THEORY OF SPOTS
sharpness everywhere will doubtless feel perplexed when he first tries to think of nature in the abstract and endeavors to apply the principle. Figure 27 is an instance in which the coat, hands, face, and back ground have been rendered with equal mechanical exactness, although the photographer was no doubt impressed with the intellectuality of the man. This literalism debars him from the realization of his other wise rightly executed plan in which by his three-spot arrangement he has succeeded in leading our atten tion from the hands to the face. The same negative has yielded Fig. 28, where unessential facts of form have been suppressed and the largest spot of light has had its definitions emphasized until the face holds us with a heightened interest found only in portrait ure and always absent in the mere likeness. It will be seen that no principle of art is independently active and we must try to discover the place of each in the interrelation of things pictorial. For instance, it is interesting to discover that in Fig. 28 a white patch of linen has helped to make the whole head more effective. It is so placed that it breaks the directness of the triangle formed by the hands and head and gives the composition of the spots the grace of the letter S. The background, too, has been relieved of its metallic impenetrable quality by soft gradations of light add ing to the effect of depth. The mood created by
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