Art Principles In Portrait Photography

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

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PROCESSES
flake white enough ivory black to make a light gray, add to this a little yellow ochre. A piece of Medium B. glass will serve as a palette, and a palette knife is re quired for the mixing of the colors. Short, flat, wide camel's-hair brushes, some pieces of linen, and a silk pad stuffed with cotton are necessary for the work.
This medium is applied upon the glass side of the negative. It makes "light." Considerable experience is necessary to read the densities correctly, when the medium is painted upon the negative. Applied over portions of the negative that are already dense or "light," as we say, it will act more forcefully than where the film is thin. Therefore, in dark places, Medium B can be painted with considerable body. It is most effective for bringing life and movement into bust por traits. For instance, the original plain dark back ground of Fig. 64 has been changed from the inert to a series of delicate movements, sympathetically support ing the head. By painting over the area of the coat, its objectionable rigidity gives place to a more subtle quality. Medium B has also helped to model the face, - give it force and character - while to the hair it has added lustre.
In painting over the flesh portions of the head, neck, and bust, the medium is spread with our finger tips. Over forms of body and accessory draperies, it is spread with the palm of the hand by gentle pattings. Fre-
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