Art Principles In Portrait Photography

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

Home | About | Photography | Contact

Thus they frequently add to the confusion and the pictorial result is not attained.
It may be said as an encouragement to those who are making their first efforts away from plain photog raphy that almost any modification on the background of a "good straight" photograph will prove bene ficial. Comparing Fig. 50 with Fig. 69, we find that the light mass introduced in the latter takes from the figure, as shown in Fig. 50, the appearance of being pasted on a surface, a feature so inseparable from plain photography. In Fig. 69 something is taking place in the background. The broken tones create a movement, a certain amount of atmospheric effect that extends throughout the space enveloping the head. It is noticeable that the upper portion is alive, the eyes, the features are mobile, while the lower part of the figure, flanked by the even dense background, is inert in comparison. By attempting modifications and observing the result we gain some art knowledge in tuitively. In this case we object to the direction of the lines in the background. Aided by a line of the cuirass and arm, they make an X, that, according to illustration 43, is too geometric. The clash of lines against the figure is also painful and their point of intersection centres the interest below the collar instead of upon the face. Turning to Van Dyck's masterpiece, Fig. 51, we see
to what height of expression the fertile mind of a gifted