Art Principles In Portrait Photography

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

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flesh, body, and background are suffused, nothing de parts from that atmospheric effect. Note by contrast the hard contours everywhere prevalent in Fig. 27, the emptiness of the flesh. Although the forms are more sharply defined, they are less real than in the pictorial rendering, Fig. 28. Tone never permits two whites to jerk our sight over black abysses as in Fig. 118. Tone is gentle, it is the mystic conveyer of the senses, ethereal.
We speak of color in photography when we really mean the color sense; it does not imply the presence of actual colors or even the printing of the negative in sepia. Colors do not necessarily make color even in painting. It is a quality of combinations that makes color, either in painting or photography. When it is present the means of expression in black and white art or in painting are so richly combined, so imbued with thought and feeling, so heightened in their juxtaposi tion and interposition of strength-giving contrasts, that the combinations act upon the senses with a fulness equaled perhaps by no other element in art. It may be said to be an intensification of the quality found in tone. Nothing shows the strong emotional nature of an artist as does the sense of color in his work. His pictures may be graceful, large in effect, decorative, earnest, and still not possess this beautiful element.