Art Principles In Portrait Photography

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

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leading interest. There is such difference of accentua tion between L and A that they move harmoniously upward. The strong accent on the outline of the well-lighted sleeve is a powerful factor in causing a due subordination of B, L, and A, while this line of the sleeve, in order to be under control, is approached, but not touched, by line P. P and J also extend toward A, and restrict its power by diversion. The means of effectually subduing line B is found in P and E, two verticals drawing the overcharged interest of the figure toward the left and upward. The frame-line M has come into the thorough planning of this structure, for it foils and quiets the long lines E and F. C is introduced to give the figure height, K and D to add to the movement.
Compared with the foregoing elaborate composition, Fig. 86 is easily solved. The problem presented is frequently tried by camera workers who, not under standing the power and force of lines, seek force by the single factor of extreme contrasting tones. In this picture there are practically no lines that have any power when compared with the white mass forming the face, beard, etc. Nothing prepares us for this ex hibition of force, yet forcefulness is not attained. That quality comes by restraining the pictorial elements, - the light masses, dark masses and lines, - and causing them to act in unison. Compare it with the charming