Art Principles In Portrait Photography

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

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desirable in portraiture. This success we will follow by robbing the lace of its sharp contours, thus taking from it its obtrusiveness and forcing the interest into the luminous flesh. In Fig. 119 a half-tone has been introduced throughout the dress to tie together the three isolated light spots of flesh, softening and enrich ing each. This half-tone is also made to invade the uniformly dark background, breaking its surface and creating space around the figure. Thus "light and shade" permeates all and "light and dark" does not exist. •
Photographically considered, the lighting of Fig. 120 is successful, the face being well modelled, the detail well defined. From a pictorial standpoint, the material is in rather a crude state, the face is overpowered" by the white mass of the hat, by the larger white mass of the waist, as well as by the protruding dark of the back ground. In each of the light masses there is a mul tiplicity of margins refusing to subordinate themselves to the main interest. We improve conditions by giving our first attention to the arrangement for beauty. We feel that the line structure is not a happy one. The sketch 121 shows the general plan to be too symmetrical. The shoulder line C is half-way between A and B, and the hat line D is midway between C and B; the width of the body is approximately the same as that of the hat. We must do something to make this regularity