. Portrait . endorse this statement, as no doubt many are inducedto adopt this style simply because it is there is no doubt that in the general public short-sighted people furnish a larger number of tonal appre-ciators than those with normal vision, just as long-sighted persons clamor for sharpness of people generally see well close by; only PORTRAIT at a certain distance of several feet things begin toassume a more hazy aspect. Thus when they view therepresentation of a figure as Fig. i, that in real lifewould necessitate those changes of eye-form t
. Portrait . endorse this statement, as no doubt many are inducedto adopt this style simply because it is there is no doubt that in the general public short-sighted people furnish a larger number of tonal appre-ciators than those with normal vision, just as long-sighted persons clamor for sharpness of people generally see well close by; only PORTRAIT at a certain distance of several feet things begin toassume a more hazy aspect. Thus when they view therepresentation of a figure as Fig. i, that in real lifewould necessitate those changes of eye-form that occurwhen the eye proceeds from near to distant vision,they do not become particularly conscious of the dif-. Fig- 2 Young Woman at the Ball By Mile. Berthe Morizot fusion but accept it as something they are used to part of such a picture can be -considered the cen-ter of the field of vision, and no matter where it is,all other parts have merely a vague and almost equalrelation to this point. Contrast, as shown in Fig. 3, the Infante picture byVelasquez, and Fig. 4, the Water Carrier by Millet, PORTRAIT produces just the opposite effect of diffusion. Theystimulate the eye by their abruptness of course in Fig. 4 we notice a certain uniformity oftone as the contrast consists only of one dark massagainst another, but in Fig. 3 we experience a constantchange. The iris becomes active as it glides from one
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Keywords: ., bookcentury1900, bookdecade1900, bookidpo, booksubjectphotography
