Art Principles In Portrait Photography

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

Home | About | Photography | Contact

foreground was made light by Medium B, and the me dium was applied in the area from the shoulder upward to the right, producing the effect of a curtain hung imme diately behind the figure. The positive from this nega tive foretold that the final result would be too gray. It was thought desirable to repress all light except in the face and neck. The method pursued on the positive was to cover the whole glass side rather thickly with Medium B, leaving clear glass in the face only. The final negative showed the effects of this reduction admirably. To soften the extreme blacks, we resorted to Medium B on the second negative.
The pictorial quality of Fig. 115 has been attained through the use of Medium B. Applied thickly on the first negative it formed the sash. On the positive made from this negative, the sash appeared as a blank irregular mass into which delicate painting brought definition. By applying Medium B upon this positive, the dress was toned, the edges softened, and folds were created in sympathy with the general effect. A very complete ensemble resulted, leaving no balancing to be done on the second negative.
The negative, positive, and second negative used to make Fig. 123 contained brush work of con siderable skill. The monotony of the dark in the first negative's background was lifted by a generous use of Medium B. Some oil mixed with the pigment