Art Principles In Portrait Photography

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

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our duty to consider carefully the subject before us, to analyze the lines it offers and choose out of the num ber one that is essentially descriptive. Then that so carefully chosen line should be placed on the picture surface in such a manner that it will convey to others the degree of forcefulness we feel. In Fig. 58 the plain photograph of a man puzzles us when we try to dis cover the leading line. Every contour being equally sharp there is an absence of accent; the usual infinitesi mal rendering of detail so destructive to picture quality is forced upon us. Compare it with Fig. 59. Here the detail being somewhat suppressed permits us to give attention to the contour. In Fig. 79, line A, no longer monotonously crude and unrestrained as in Fig. 58, is transformed into the leading line merely by introducing in the background a vertical to connect the upper frame with the other shoulder. B has a diversion in line C and is thereby made secondary to line A. Notice the effect upon the personality of the sitter; in Fig. 58 the head is alone in a meaningless space, it asserts itself vulgarly, feels posed and con gealed. In Fig. 59 the figure has animation and life, the face is full of interest, the background is no longer a vague emptiness, but explains itself. It has become useful. If line C were to appear above the other shoulder, ■- Fig. 80, its introduction would change the facial expression. Under certain circumstances this