Art Principles In Portrait Photography

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

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less apparent. In Fig. 123 a great variety in the shapes has resulted from the introduction of a series of lines. Thus in Fig. 122 space 11 is different from space 13. This again varies from 14, from 12, from 8, etc. Questioning the line formations of Fig. 120 with reference to stability, we find the sections of this picture disjointed. Line A, Fig. 122, has been introduced to tie together the shoulder, the hat, and the upper frame; line B, on the other side, starts lower, beginning at the scarf, slightly touches the hat, and ends in the upper frame. Line C invades the empty field to the right, connecting the arm with the right vertical frame-line, and D, which in Fig. 120 is too obscure, is in Fig. 123 made firm and touches the frame. Their united action establishes the figure's firmness.
Considering the velocity of the lines, the hat-rim (E, Fig. 122) shows a sameness of speed in Fig. 120. By changing its accents from hard to soft, varying the degrees of intensity, we attain pleasing, sympathetic results. The upper frame is checked by lines A and B, the right frame by C and D, and the left is modified in velocity by the nearness of B. Thus the tempo of the frame has been brought into harmony with the mood of the picture. Similar modifications have occurred in the body, where the minute definitions of form in Fig. 120 have given way to playful tones in Fig. 123.
It is of interest to notice the difference in the charac-