Art Principles In Portrait Photography

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

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PROCESSES
near the flesh and worked over into the face and bust. The stroke faithfully followed the modelling of these forms and was thoroughly studied for its densities. The hair was re-enforced in movements in harmony with the fine flow of its forms, and the hat received elaborate brush work. In the draperies, the effect of ermine grew out of the brush stroke, thus; after the section had been covered with Medium B, a small brush was cleaned and applied dry, thereby removing enough of the medium to produce the spots of black. With another brush high lights were added by using more of the paint. The positive made from this negative is very complete; however, a little roundness was given to the shoulders, neck, and face by painting lightly on the glass side of the positive, then, turning to the film side, a very fine-pointed brush was charged with Medium B and accents were given to the lines of the mouth, nose, the pupil of the eye, its lashes and eye brows, in the hair and about the hat. The negative made from this positive is very vigorous.
Transformation of Fig. 112 into an artistic work requires the elimination of the floor line. The retention of this line resulted from a desire to help the photographer in overcoming frequent annoying problems common to the operating room. The ener getic application of Medium A on the negative oblit erated the line. The obstruction being removed, the
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