Art Principles In Portrait Photography

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

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ing on the picture plane. As we work toward this end we combine a delightful exercise with excellent train ing and the development of our appreciative powers.
Figure 57 presents an extremely conventional pose. We should waste our time in trying to make the pictorial out of it. Its spot arrangement - face and hands - is on the plan of the drawing, Fig. 45, that was found to possess no pictorial qualities. If we study the drawing, Fig. 60, we shall see how far the photograph, Fig. 57, departs from the attainment of a pictorial ensemble. In Fig. 60 a line from A to B shows an equal division of the picture plane; the face and body of the sitter are also divided symmetrically. ^Estheti-cally considered, monotony is made more prevalent by the exact horizontal repetition of the features, as the series of lines marked G shows. Observe the lower frame line. On it points C are each equally distant from the uprights, their distance to points D are the same, and the spaces between D and A do not vary.
The change effected in Fig. 58 will appeal to us all. Several pictorial concessions are made, the chief one being in the lines from the shoulders and the way they meet the frame. The conventional has vanished and one element of the pictorial has been secured. See Fig. 61. The frame line shows variety in the spacings. The distance from A to B is nowhere re peated on the four sides, nor is the space formed by