Art Principles In Portrait Photography

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

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STABILITY
controlled with relation to the frame that they affect vitally the whole picture surface. We may compare a picture to a spider's web, -Fig. 99. The latter is con structed to sustain the weight of the spider, and in order to be equal to its task its delicate threads reach out to various points for support. How necessary these points of attachments are. In Fig. 100 we have the frame of the picture with a spot located centrally. This spot has the shape of a head and a vignetted bust. It suggests weight made gross by its position and the lack of supporting lines. A weight unsustained is in congruous; the spot must throw out lines for its support. Thus lines in pictorial representation exist not only for beauty but quite as much for use.
The deficiencies of all vignetted plain photographs are the same as those of Fig. 100, but even in this kind of pictorial representation the relation of frame, back ground, and figure must be maintained. Suppose the frame and the object in the centre of Fig. 100 to be made of wood; the central mass having no support would fall. To prevent this it would be necessary to tie it to the upper frame with one or more supports - Figures 101, 102. We thus have the first "staying-in" element. We know, however, that it would still be likely to swing in and out, - Fig. 103, whereas it should be absolutely firm. If we place pieces of wood
below, the condition is somewhat ameliorated, - Fig.
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