. Portrait . figure is best posed from left to right, for the eye willsimply glide along it and take in the diverse elementsaround it at the same time as it does the portrayedperson. If posed from right to left, the leading outlinewould oppose the glance of the eye. This kind ofcomposition is really on the symmetrical order, as itdivides the area into almost equal parts. It representsa sort of repetition, readily connecting objects thatproduce similar effects upon the PORTRAIT Another formula that has decided merit and hasbeen frequently used by painters, although it has notyet come t
. Portrait . figure is best posed from left to right, for the eye willsimply glide along it and take in the diverse elementsaround it at the same time as it does the portrayedperson. If posed from right to left, the leading outlinewould oppose the glance of the eye. This kind ofcomposition is really on the symmetrical order, as itdivides the area into almost equal parts. It representsa sort of repetition, readily connecting objects thatproduce similar effects upon the PORTRAIT Another formula that has decided merit and hasbeen frequently used by painters, although it has notyet come to its own in photographic representation, isthe V-shaped placing of two figures, as seen in ChardinsBusy Mother and Old Ladies,Figures 2 and 3. The composition is largely dependenton the placing of the V-shape in an upright. It proves. Fig. 3 By Richard Miller The Old Ladies once more that the underlying geometrical shape, asapplied to the figure, is always the most importantelement in picture making. The eye takes in thisparticular form with perfect ease, in one sweep, andfor that reason alone it is an excellent vehicle of expres-sion. Whether we approve of it is a different is always a decided difference between the activeperception and the following passive sensation. The 7 PORTRAIT eye may accept the form as agreeable, but when it istelegraphed to the mind, our memory is set to form is slightly unfamiliar to us and the form asseen against space seems to us somewhat abrupt,particularly so in Figure 2 where it stands out moreclearly than in Figure 3. In Richard Millers picturethe shape is lost more in the tonality,|^and being much
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Keywords: ., bookcentury1900, bookdecade1900, bookidpo, booksubjectphotography
