. Portrait . apestrybackground almost suited the subject. But it is almost impossible for the photographerto compete with such a finished composition, as, forinstance, Gainsboroughs Mrs. Graham, Fig. 3. Theproblem is to do justice to all parts, to give the sensa-tion of unity and yet not to neglect detail and the por-trait quality. Even our foremost pictorialists, asSteichen, de Meyer, etc., have succeeded in producingunity of effect only in tonal composition, which per-mitted them to treatdetail in a broadereHminating kind of dark to-nality is apt to pro-duce an artistic sensa-ti
. Portrait . apestrybackground almost suited the subject. But it is almost impossible for the photographerto compete with such a finished composition, as, forinstance, Gainsboroughs Mrs. Graham, Fig. 3. Theproblem is to do justice to all parts, to give the sensa-tion of unity and yet not to neglect detail and the por-trait quality. Even our foremost pictorialists, asSteichen, de Meyer, etc., have succeeded in producingunity of effect only in tonal composition, which per-mitted them to treatdetail in a broadereHminating kind of dark to-nality is apt to pro-duce an artistic sensa-tion, but it sacrificesa good deal of actualrepresentation. But itseems to be the onlyway, as the eye evenof the layman is veryquick in detecting anyfalse, forced or un-natural note in thebalance of parts aswell as in the render-ing of motions. It in-volves the process ofhigher appreciation, inwhich the mind beginsto analyze as soon asthe senses are doubt-ful about the received ^^- 3 Mrs. Graham By Gainsborough. PORTRAIT impression. Beauty is unity of effect, and our imagi-nation has framed our standard of beauty, different
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Keywords: ., bookcentury1900, bookdecade1900, bookidpo, booksubjectphotography
