Le côté artistique de la photographie dans la théorie et la pratique . Coursethere de certains professionnels qui sont eux-mêmes l'exploitation,et aiment leur travail ; mais même dans ce cas, theretoucher détruit généralement la ressemblance. L'amateur ordinaire consacre beaucoup trop d'atten-tion de text-books, et devient enveloppé dans schemesof, la composition sociale des régimes d'oflighting pose, et, jusqu'à ce qu'il oublie tout sur le characterrendering, qui est le coeur et l'âme de portraits. Si un homme veut prendre, ou même d'apprécier, il goodportraits doit oublier tout ce qu'il a presque été taughtabout la composition, et de commencer

• Contributeur: The Reading Room / Alamy Banque D'Images
• ID de l’image: 2AM4R1N
• Taille du fichier: 7,1 MB (599,7 KB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 1432 x 1744 px | 24,2 x 29,5 cm | 9,5 x 11,6 inches | 150dpi

Informations supplémentaires

Cette image appartient au domaine public, ce qui signifie que le droit d’auteur a expiré ou que le titulaire du droit d’auteur a renoncé à ses droits. Les frais facturés par Alamy couvrent l’accès à la copie haute résolution de l’image.

Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.

The artistic side of photography in theory and practice . Of coursethere are some professionals who themselves operate, and love their work ; but even in such cases theretoucher usually destroys the likeness. The ordinary amateur devotes far too much atten-tion to text-books, and becomes wrapped up in schemesof composition, schemes of posing, and schemes oflighting, until he forgets all about the characterrendering, which is the heart and soul of portrait work. If a man wishes to take, or even to appreciate goodportraits, he must forget nearly all he has been taughtabout composition, and begin by learning to realisethat the likeness is everything ; that the pose of thefigure is not an essay in composition, but part of thelikeness ; that the lighting is planned to throw upthe particular features and bring out the particularmodelling of one particular face ; and that even theplacing of the hands is a portion of the characterrendering. Velasquezs half-length portrait of Philip of Spainis perhaps the finest portrait in the world ; yet, what 288. MRS. WIGGINS OFBELGRAVE SQUARE. By Baron A. de Meyer, jfe Some Elements of Portrait Work professional or what ordinary amateur would dreamof posing his sitter in such a simple manner ? As amatter of fact, the composition in most of the greatportraits is exceedingly simple, and we can onlyassume that the less the artist has worried himselfabout his composition the more has he been able todevote his attention to the interpretation of characterand the surrounding of his sitter with a typicalatmosphere. II. In photography the drawing is performedautomatically; but it depends on the station-point ofthe lens whether the drawing appears natural or un-natural, the perspective pleasing or exaggerated, andthe foreshortening true or false. If we realise that in portrait work the station-pointof the lens is everything, and the focal length of thelens only affects the size of the image, we shall saveourselves trouble and confusion. Given a st

Recherche dans la banque de photos par tags

• bookcentury1900
• bookdecade1910
• bookyear1910
• livresubjectphotogr