ART PRINCIPLES IN PORTRAIT PHOTOGRAPHY
has been too great a force to be submerged by any pre scribed rules, and each photographer has found a way of lighting that fits his conception of a portrait. This he should continue to use undisturbed, while pursuing the art now opened to him.
It may be said that lighting must yield the third dimension.
The human figure gives the same impression of roundness out of doors as in doors, in a room with many windows as in the atelier of but one light.
Modern schools of painting are experimenting in all kinds of light, and photographers will invigorate their art by doing the same, but there is a practical side to photographic portraiture that limits our analysis to what the north light single window will give.
We may investigate frontal, side, and marginal light ing as being of special service. (See Figures 126, 127, 128.) In Fig. 126 the light strikes the object in front from above; in 127 it is on the side, and in 128 the margin is illuminated. All three drawings have the gradation explained in the previous chapter and they seem round. Fig. 125 is a white geometric oblong that presents no "body." If we were to introduce tint repetition, as in Fig. 129, the result would be not plastic, but flat; nor does the use of a more vigorous tint help us to obtain the round. (See Fig. 130.)
Frontal lighting is obtained by throwing the light