Art Principles In Portrait Photography

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

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BACKGROUNDS
Do we not become more and more conscious of the nakedness of the plain photographs when we compare them with those that have been pictorially developed ?
In the Van Dyck, Fig. 51, the rock, foliage, clouds have grown out of the purely abstract in arrangement, assuming in their development semblance to natural forms, yet this is riot realism for its own sake. To test this truth we have but to add one realistic form, one leaf, rock or grass blade, or to shift the shapes that exist, and we destroy that balance so necessary to the portrait quality. In Figures 30, 31, and 83 architec tural forms are used with the figure, but in each the attempt made is not to depict a realistic window or wall, but only to obtain lines that produce certain results.
In Fig. 66 the flowers are placed, not as nature would have them grow, but according to the needs of the figure and its surroundings. These flowers are impossible if we demand realism, and yet they are satisfactory as space-fillers, while realistic blossoms would be totally out of place.
The created background in photography is a civiliz ing agent.
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