Art Principles In Portrait Photography

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

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PROCESSES
PROCESS NO. II
It is necessary in illustration 29 to produce lights above and around the head and to re-enforce the lighting of the face. The shape of a window with landscape effect offers an excuse for these lights,-Fig. 30. Deli cate toned gradations are needed to render them. The process by which this is accomplished is as follows:
Upon the glass side of the negative a very delicate tone is laid with Medium B, extending over the face and all the section to be occupied by the window. The thickness of the application is varied in the face and the hair, in the woodwork of the sill, in the sky and wherever there is light. Using a piece of soft wood, dark lines were made by scraping away the medium, and the eyes were treated in a similar manner.
From this negative a positive was made, and the outcome of our manipulations showed a beau tifully engraved plate, that was photographic yet delightfully alive, combining the accuracy of a neg ative with the artistic work by the trained hand. Who would venture to place a limit to the pictorial inven tions made practicable by this method ? For instance, the positive is as well adapted to modifications as is the negative. The positive, therefore, must be carefully studied, that we may read the densities correctly. Re ferring back to photograph 29, with the intention of
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