Art Principles In Portrait Photography

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

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emphasis near the eye socket, round which the interest is made to circle by rhythmic movement. Line C pre vents B from becoming too powerful and pressing too heavily and sharply upon the face. D further lifts the interest upward into a space that must be vitalized if it is not to become a dead member in the picture con struction. Left blank or weak, the upper and dark portions would assume such prominence that character-rendering in the face could end only in caricature. Observe how line D leads off from C with some firm ness, then subsides into a gentle curving movement that draws the eye around and back to the face, accomplish ing two offices, first, making vital, luminous, and in telligible the upper part of the picture, second, bringing the interest back to its centre. After leaving line D the eye considers the form of the features and rests with that section holding the mass of light. Other elements of diversion are found in the tones of the beard and the deflections in the background that keep the interest from being overcharged.