ART PRINCIPLES IN PORTRAIT PHOTOGRAPHY
examining these drawings, as the eye will read and the memory retain many laws clearly shown in them. We discover that nearest the highest lights in abrupt forms we usually have the deepest darks; the shadow thrown by the nose is deeper than the one on the side of the cheek.
The crescendo of shading in Fig. 133 is an interest ing study, as is also the great contrast of tones on the edge.
Comparing it with Fig. 134, we find the former pictorially sound, and the latter decorative. Several factors enter to make Fig. 134 representative of photog raphers' failures in lighting.
In the diagram of flat tones, page 193, in the chapter on Light and Shade, the spaces marked 1 and 2 have the same degree of dark, a condition found in Fig. 134, the shadow on the nose being the same in degree as a section of the background. Again, in the diagram the spaces 3-4 have the same degree of white, and in the drawing of the plaster cast the forehead and a section of the background have equal whiteness.
These tones fall into one another and cause the
planes to be on a level. The black on the nose is as
far back as the black in the background; or reversed,
the black background comes forward to a level with
the shadow of the nose. The same can be said of the
whites just examined.