. Portrait . Fig. 3 Frank EugeneAnonymous of the young woman. Stillthe photograph has onedecided defect, it lacksstrength in comparisonwith the painting. The merits of these twopictures are combined inthe Rembrandt Self-Por-trait, Fig. 4. In thisportrait we encounter lum-inosity without any strain-ed effort, and strengthdespite the softness ofgradations. The facialvalues in a pictorial rep-resentation should impressthe beholder as being life-like, like real human flesh, clear and well modeled, andnot as manipulated light and shade arrangements. Italmost seems as if Fig. 4 was composed only in
. Portrait . Fig. 3 Frank EugeneAnonymous of the young woman. Stillthe photograph has onedecided defect, it lacksstrength in comparisonwith the painting. The merits of these twopictures are combined inthe Rembrandt Self-Por-trait, Fig. 4. In thisportrait we encounter lum-inosity without any strain-ed effort, and strengthdespite the softness ofgradations. The facialvalues in a pictorial rep-resentation should impressthe beholder as being life-like, like real human flesh, clear and well modeled, andnot as manipulated light and shade arrangements. Italmost seems as if Fig. 4 was composed only in threetints, and yet the round-ness of the face is moreconvincing than in any ofthe other examples. Sothere is no actual rule tofollow. The effect will de-cide. The simplest means,however, are, artisticallyspeaking, preferable tomore elaborate ones, asthey are more apt to hidethe mechanism of tech-nique. The complexion of aface is in itself so subtleand varied, so constantly. PORTRAIT exposed to minute changes of color either by moodsor atmospheric conditions, even in a room or studio,that it should be handled with particular care and notaccording to a certain stereotyped plan of Hghting, Forit is largely complexion that lends animation and alsocharacter to a face, and the more attention an artistwill pay to the local values of flesh, the more lifelikehis portraits will become. There is no reason why we should not, even inordinary portrait photography, distinguish at thefirst glance whether the sitter had a pale or ruddycomplexion, or whether some fair lady was a blondeor brunette, or dark. Artificial means, however, likepowder or vaseline for the high lights should be do not help the naturalness of expression. Theproper and most reliable means are lighting and ajudicious choice in the colors of dress, accessories andbackground. The New York Association This year the annual meeting of the New York Pho-tographers Association will take place in
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Keywords: ., bookcentury1900, bookdecade1900, bookidpo, booksubjectphotography
