Art Principles In Portrait Photography

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

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relation of each to the others and to the frame estab lishes the weight of their statement and the degree of their intensity or force. That which establishes the weight of their statement is largely intellectual and appeals to our reasoning. It is the province of defi nition and drawing. That which establishes the degree of intensity or force affects our emotions. We speak of it as accentuation. To elucidate, if we remove the line in Fig. 72 and free it from all relation to a frame and to any other line, - Fig. 73, we are simply curi ous to know why it is there; we note its peculiarities, but further than that it means nothing. In Fig. 74 this same line placed upon a picture plane is to our intellect an intention, and to our emotional nature a movement. It vigorously infringes upon a given territory and divides it into parts: it is very decided, it has "power," as we say in art. As soon as we find we have a means of expressing power, the natural deduction is that if we were to make a second line equally powerful on the picture surface one would annul the other. We must make a second one stronger or weaker than the first. It would be illogical to make it stronger, for an unbroken picture plane demands that the first line be the most forceful one since the strongest line is best able to cope with the sum of power contained in the picture space. The second should support the
first, - Fig. 75, and should break the larger of the two