Art Principles In Portrait Photography

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

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TONE, COLOR
than they were in the dim room but they are still "in tone." Again, if there is but a single gas jet lowered to emit only the faintest light and a man steps up to it to read a letter, his head, figure, hand and letter will all be affected by the faint illumination in which he stands. He also will be "in tone."
Tone is the presence of atmosphere affected by some light that, pouring over figure and object, subjects all to its own quality. This is not less true in pictures. There, too, black and white change to meet the quality of the atmosphere introduced, and all intermediate lights and darks are influenced by the same spell. Tone is an enchanter, everything is at the mercy of its mystic charm. When it is present, figures and objects in a picture do not affront us; they play back into the enveloping quality of the prevailing picture-light. This light-affected air in the picture constitutes the motive; the figure and objects are only played upon by it and are the subject. When objects are not sub merged in a prevailing tone we speak of them as being "out of tone." This expression applies to the hat and waist of Fig. 120. Considerable tone quality is present in the face and hair, but they are not in the same at mosphere with the laces and linen. The even dark background is the very negation of tone. In Fig. 123 the tone effect is consistent throughout.
In Fig. 28 we have the presence of tone. In it the
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