Art Principles In Portrait Photography

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

Home | About | Photography | Contact




PROCESSES
to drag over thin passages to add character to it. When thinness and delicacy of tracery in one's design is the aim, Medium B can be thinned with linseed oil or tur pentine. Practice along the line of these suggestions will reveal a rich field of possibilities.
In a Portrait of an Old Man, Fig. 28, Medium A was used to reduce almost to clear glass the background and the forms of the body, and the treatment was extended, though less vio lently, over the hands and most of the head. The photographic image is not lost in this extreme reduction, indeed it persistently holds and may be brought back to whatever degree of accent we desire, by the use of Medium B. Sometimes we may wish certain definitions of form to remain practically ob literated, and then to invent by means of the brush stroke new forms of more pictorial value. As an in stance, we notice that the complicated lines in the coat of Fig. 27 have not been considered essential to the picture expression. They have been replaced by lines and tones representing very possible drapery and creat ing movement from the lower interests of the picture indirectly toward the head. The emotional quality possessed by these lines greatly affects the facial ex pression. As balancing features, vigorous brush thrusts have penetrated the background, and sections of it have received a tender tone made with elaborate care.
237