Art Principles In Portrait Photography

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

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U NSCHOOLED in the laws that make pictorial art, the photographer has tried to emulate the sculptor. Forgetful that all his effects are confined to the surface of paper, he has tried to make a round thing on this paper, he has wanted his representation to "stand out," as he is accustomed to express it. Not photography but sculpture in high relief is adapted to such forceful methods. In photography and painting the paper or canvas is felt through the print or painting and is a part of the picture, just as in a Gobelin the design is woven' into the fabric of the canvas. A per son represented should not "stand out" but should "stay in" the space. This does not mean that the figure is to seem shut into an enclosure, fenced about, imprisoned with a perpetuated expression, but some thing is meant to the effect that the surface, being the means of an artistic expression, should be utilized as one whole field, every portion of it being a vital part of the entire intricate fabric. For instance, in Figures
57, 65, 86, 112, or in any plain photograph, the central