Art Principles In Portrait Photography

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

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LINES
To make this little girl a real child we must draw attention to whatever holds her interest. The prin ciple of leading the eye set forth in Chapter III will help us to do this. In the plain photograph, Fig. 114, the rectangular shape of the white gown claims our attention because it is the chief accent. The hands holding the apple, and the pretty face with its eager interest, are thereby made trivial. In the manipulated photograph, Fig. 115, the despotic lower line of the dress is properly subdued; other lines and parts of the frock are shaded into softness and, as they retire, additional forms of light are needed to invade the space C and extend toward the lower frame line, thus mak ing a very irregular shape of the dress. A sash has given this necessary mass of light. Intentionally we change the floor line, whose cold indifference to the child is destructive to the picture's life. We cast upon it a shadow, thus creating depth of space, and we in crease this depth by adding a sharp touch of light accent and a softly graded light in the background. By this treatment the spaces that in Fig. 114 were monotonous and self-centring have been broken into, made irregular, and are now so controlled that by a circular movement our eye is led through the picture to the main interest, namely, the hand holding the apple and the eager face. But to keep the interest
there we were forced to carry light above the hat.
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