51. Many artists, when composing on this principle, especially in landscape pieces, so arrange the cloud lines that they form a balance by running counter to the lines in the composition proper, as shown in this very beautiful example, "The Harvest Wagon," by Philipp Wou-werman, which hangs in the Leuchtenberg(Jallerv. We may almost see the forms of the figures repeated in outline in the clouds, by reversing the picture. The story is well told, and the artist was true to the principles of his art.
52. Something more di-rectly in the line of photographic portraiture will be found in the picture of " Master Lambton," by Sir Thomas Lawrence, that wonderfully successful portrait painter whose works are always worthy of study. Many - painters,
61. The sky requires careful study and arrangement to produce the right effect. The lights formed by the clouds must he arranged in such a manner as not to lose their force. Small clouds seldom have a good effect, and betray a feebleness of manner in the artist, excepting when they are so arranged as to form a single object. Clouds give expression to the character of the scene represented; for instance, as they gather for an approaching storm, or break away to make an opening for the welcome sunbeam, after having deluged the earth with water. And again, they may express the beautiful repose of a quiet summer afternoon. - M. A. Dwight.
62. The first condition of a good attitude is, that it should be in harmony with the age, stature, habits, and manners of the individual; secondly, that it should express the great beauty of which the model is susceptible. As we have already stated, the perfect knowledge of the individual is the sole guide for a suitable choice of the position; the defect to be most guarded against is that caused by borrowed and studied attitudes. The photographer must, therefore, observe attentively, reflecting on his subject, and try, by all possible means, to engage the attention of his model, and to endeavor to make him cease to think of the portrait for which he is come, seizing and noting the natural movements which are visible during these short intervals of forgetfulness. - M. Disderi.
53. The Pyreamidal Form Of Compo
Sition, in many respects, closely resembles the angular, the - only difference being, that although the angular may, and often does, within itself many pyramidal parts, yet the angular form predominates, and vice versa, in pyramidal. And while there may be much in the - composition or arrangement that would be apt to have it classed as angular, yet the impression given, when viewed as a whole, or when the leading lines are analyzed, will be that it partakes most of the form of a pyramid. This form is particularly adapted to groups.
54. It is. therefore, thought best mark thev - distinction, as the pyramidal will be found to be the most generally useful in composing single
63. Now what we want, good fellows, is less reality and more idealism; lees completeness and more suggestions; less of the actual and more inference in our work. This intensity of truthfulness amounts to deformity and disfigurement, and is a dangerous fault because its negative merit. It is a rare requisite that thing we lack. A coy, shapeless, almost indescribable quality; better told in what it does not consist than in what it does. An etheral. atmosspheric quality - fleeting and full of feeling; a quality not so much of brains as soul, and yet plainly with brains to back it. To be literal and practical in this matter submit to the rules, although seemingly inconsistent to apply rules to idealizing photography. - J. H. Kent
64. Our chemical effects may he faultless, our pictures ever so sharp, hut without proper pose, lighting,and expression,our resulting pictures will only be stiff, hard, soulless images.
Without this soul and lifelike animation that proper care can obtain, and may always be found it in every face (be it ever so dull), we fall far short of what our art is capable of pro ducing, and the good to which we all should aim, and to which we all can reach, if we only apply the means placed before us. - Alexander Hesler..
Examples Of Angular Composition, Photo-Engraved From Nature.
figures, particularly ladies - in fat, three-fourths of the portrait- produced photography will he found, on examination, to partake of this form.It is hoped that it - study will lead to perhaps a better appreciation of where, and in what manner, to Introduce complementary lines. In arranging groups of figures, a regard to and application of this form of composition will often be found useful. Remember, then, the very great importance there is for having a graceful pleasantly flowing line,e either internally or in that which constitutes the leading outline. This will apply to all the leading forms of composition.
55.It is not intended to advocate anything like a dose approximation in any composition to the lines forming a pyramid, but rather as in listening to any well-known air with variations we have no difficulty in tracing the air itself running through them while the piece being performed, in the necessarily varied lines of a drawing or photograph, if there is art or design in its construction, the educated eye can discover the method of composition, and thus more readily enter into and understand the motive or intention of the artist From the author's collection of photographic portraits, six examples of the angular and six of the pyramidal form of composition have been selected and photo - engraved, as proofs of how these principles may be carried daily into practice.