ART PRINCIPLES IN PORTRAIT PHOTOGRAPHY
change might prove useful. The placing of these lines is aided by feeling; their subtle influences so puzzling to the inexperienced prove fascinating to maturer workers.
Turn to illustration 93. What is the leading line ? All are prominent, each practically unrestrained; if the eye becomes engaged with line B, - Fig. 81, it finds D disputing with it, - the latter having more force-fulness. At the same time A is strong enough to re ceive a large share of our interest, and between these contentions our feeling dies and our thought is dulled. In Fig. 82, B and D have been modified by the new line E, our interest has been drawn from the frame inward, and is now engaged with the figure. This point having been reached, we are made to feel a main line A. It is well chosen as it points to the height of the figure, giving a majestic quality to the pose. B is now an accompaniment to A; it supports without dis puting. Thus controlled, B is made very effective as a picture element and expressive of dignified move ment in the figure. In this way the warring interests are brought into some harmony, - Fig. 94.
Fig. 1 and Fig. 83, when compared, will show the great difference between the results of plain photog raphy with its artificial background and of camera work pictorially treated by the correct use of lines. In Fig. 1 the woman has evidently retreated to the wall and is at a