ART PRINCIPLES IN PORTRAIT PHOTOGRAPHY
117. In Fig. 116 the sleeves have been outlined with an emotional stroke, the margins of the dress have impetuous lines, and spirited touches have modified the laces over the bust. In perfect harmony with these has been the life-giving characterization imparted to the background. Notice the effect of a low horizon, what depth it gives the picture, what loftiness and lightness to the figure. Compared with it Fig. 117 feels heavy, without movement. Figure 117 is the subject; in Fig. 116 the subject has been analyzed, the smile was found to be the motive and treatment has made the picture. Its value lies in the quality attained.
In Fig. 30 the lines, lights, and darks introduced behind the head are to the uninitiated merely a window and landscape, while to the art student they form the satisfactory foil.
Sometimes the diversion is an apparently meaning less spot or abstract line or wilful shadow. In Fig. 115 it is the light line on the floor, in Fig. 119 it is the sudden light touching the hat and bringing expression into the eyes. The added charm is felt when we com pare the picture with the plain photograph, Fig. 118.
There is a lesson for us in a study of the prints 57, 58, 59, 64. Both Figures 57 and 58 are the pho tographic facts of nature; Fig. 59 brings the introduction of suggestion. Its vertical line in the background stimulates thought and directs our eye to the face, yet