Art Principles In Portrait Photography

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

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The real artist would have tried to reveal the woman's character, to make her what he conceived her to be, while this photographer had no conception of her; he allowed his background to testify to his lack of re sources. Only a background fully thought out can make the true portrait; any other method will destroy what good there may be in the sitter. Landscape should be introduced not for its intrinsic beauty but because its series of movements and masses are an aid and support to the figure. Architectural features may play a part if the lines they offer are of service in the picture-upbuilding; no other merit can justify their introduction.
Figure 114 is a photograph having all the refine ments that excellent workmanship, good lighting, the clean plate and superior printing can give. The realism is not so oppressive as in Fig. 1, yet the photographer was unable to free himself from mere fact rendering. The face, dress, floor, hat, curtain, are all equally literal. Compare it with Fig. 115. A transformation has taken place that makes this example a portrait while the other is the posed child. Here we have en veloped the child with feeling, with loving lines and tones, we have treated her in the picture as we would treat her in life, with the same lavish care. In the good straight photograph the child seems abandoned and