Art Principles In Portrait Photography

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

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working out the pictorial problem, we find by the den sities in the positive that the ear, collar, certain por tions of the background, and some parts of the figure would print too light. We thereupon apply thinly Me dium B. The pictorial effect now being satisfactory, a final negative is made from our positive. It will be noticed that the use of Medium B on the positive pro duced darks in the second negative,-a result to be gained on the original negative only by the use of Me dium A. Indeed there is a characteristic in the darks produced by Medium B on the positive that makes it a peculiarly facile method for artistic expression. By its use, form-rich background delineations easily flow from our brush points. How great a range for control of the artistic effects is offered in this second method becomes evident when we find that on a second negative we are still empowered to change the light and dark, if we find alterations advisable, simply by again using Process No. I. In the hands of a trained artist, Process No. II should be productive of fine results.
Photograph 118 was developed into the portrait 119 by manipulation as follows: The starved con ditions in the plain negative were overcome by playing a very thin oily touch in a somewhat circular movement over the background. This destroyed the metallic quality of the photograph, giving it some effect of color. Medium B was then applied more thickly