Art Principles In Portrait Photography

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

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Illustrations 93, 94, 95, and 96, studied for their grade of velocity in lines, will be helpful. In the plain photograph 93 the frame lines are not affected by any thing in the picture, their indifference is absolute. They are rapid, overpowering and self-assertive. Lines F and G in the drawing 97 are feeble when com pared with the frame lines, yet in the figure they have most velocity. Unbalanced, unchecked, they hurriedly ascend the triangular form of the skirt. Our eye reads the tiresome effect instantly, finds no further resources, and we have lost our interest in the production. In Fig. 94 the introduction of D has changed the tempo of H, causing it to vary from L. (Refer always to Fig. 97 for designation of lines.) D, by its nearness, has moderated the speed of K and lessened the eagerness of G. Still more modifications come into the picture in the stage of development found in Fig. 95, where the folds marked A, B, C have all been made into useful lines, serving to balance D and to modify F and G. Emphasis laid upon these folds also proves that in photography we may strengthen lines that are not marginal quite as well as Gandara has done in his oil painting, - Fig. 91. The finished picture, - 96, shows many more modifications, such as the line E, that affects by its "checking" propensities all the uprights, quiet ing them. We also find the lines A, B, C strengthened
by the emphasis of white. Just how emotion has crept