Art Principles In Portrait Photography

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

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much space or from want of background lines to con nect it with its geometric enclosure. In Fig. 66 the lost feeling and the insecurity of Fig. 65 have given way to stability. The woman seems to belong where she stands. The steps by which this is accomplished are shown in the following pen drawings. In Fig. 109 a vertical from the shoulder to the upper frame line brings about some feeling of firmness; in Fig. 110 a low, oblique line adds to the security. The picture plan is realized in Fig. Ill, where the oblique line is extended to the opposite frame, effecting the necessary stability in the picture.
A more complex problem confronts us in Fig. 112 where in spite of the empty wall space we feel that the girl has not room enough in which to make her courtesy; there is danger that she may fall face forward out of the frame. In solving this problem a composer's best ability is called into play. (See frontispiece, Fig. 113.) That the figure might "keep its place" foreground was added and the space increased on either side and above. Into this area a line wTas thrust playingfrom the feet back into the picture and to the upper frame. On the same side of the figure a line giving the effect of a curtain connects the shoulder with the upper frame. Less dis tinct lines emerge in the background from the skirt and play upward and outward to the right. The combined effect is to hold the figure in its place satisfactorily.