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The photographic news
- Bandzählung
- 7.1863
- Erscheinungsdatum
- 1863
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- Englisch
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- F 135
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 253, July 10, 1863
- Digitalisat
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Zeitschrift
The photographic news
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Band
Band 7.1863
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- Register Index 619
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Band
Band 7.1863
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- Titel
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July 10,1863.] THE PHOTOGRAPHIC NEWS. 331 increase the size of a head that appears too small, by throw ing the light on the face; and diminish the size by choosing a tint that would thiW one half of the face into the shade. In general, a dark background serves to make heads appear small, and a light one increases the size. Backgrounds of a middle tone, on which the lights and shades are equally de veloped, are the best qualified to give an idea of the exact dimensions. It is by all these means, combined, that the image obtained presents this first and so important an aspect, resulting from the stature of the model, and which causes it to be recognized at the first glance by the masses that it offers to the eye, and quite independently of all detail, or peculiarity of feature or dress. It is also by these means that the artist is able to embellish the proportions, without passing the limit of resemblance. A question which seems to attach itself, naturally, to the one we have just treated, is that of the real size to be adopted for the photographic portrait. Without doubt, the importance of the subject ought to serve as a guide. It would scarcely be proper to give the same dimensions to the portrait of a celebrity, as to that of a little girl playing with her doll. However, the difference ought, above all, to depend on the mode of treatment of the picture, and on the disposition of the scene, which the character given to the subject presents. It is in the importance of the aspect, and in the gravity of the lines, that the artist ought to seek the character, and not in the dimensions. The Greeks and. the Egyptians have expressed the majesty of their gods and heroes, in bronze, or clay images, even less than an inch in length. The photographer, in the question of real dimen sion, must, above all, consider the destination of his picture. If it is to be placed in a very open position, he will increase it in size to that of life, or even beyond. If, on the con- trary, the portrait is destined to adorn an ordinary apart ment, or a boudoir, he will make it of much smaller dimen sions. Should it, however, be destined for a brooch or locket, the likeness must possess aesthetic beauty and majesty, provided the subject will admit of so elevated a style. We scarcely need add, that the methods of augmenting the size render all dimensions possible to the operator, whatever the reduction may be that the original image has undergone, on account of the choice of distance. The portrait may represent the individual either in full length, in half size, or merely the bust; portraits are even taken with the head alone; lastly, one may group several persons in the same portrait. It is evident that the artist should, by no means, bo governed by chance ; and that hero as well, the rules of the art must guide him in his choice. The full length portrait is the most suitable of any to express the complete resemblance of the individual, from the expression of the phisiognomy down to fine attitude and proportion ; but what difficulties the artist has to overcome, before he is able to take a perfect likeness, with regard to resemblance and beauty ! In the full length portrait, we are not to be guided only by the. inflexions of the neck or the arrangement of the arms ; it is the play of the muscles and sinews that determines the general situation of the other parts of the body; the visible position of the feet does not hide, from the eye of a beholder, the absence of equilibrium in the movement. However excellent the inclination of the head, or the disposition of the shoulders and arms may be, if you make the slightest fault by giving an unlucky turn to the knee, or by placing the foot in a bad position, you destroy the whole logic of the position. Nothing is easier in such a portrait than to fall into awkwardness, without resemblance, or even into ugliness. It is, of course, apparent that the difficulty must be increased by the necessity of producing a resemblance. The half size, or half figure portrait, ought to give a nearly perfect idea of the individual; it shows the attitude of the body, and indicates the position of the lower extremities, which are absent. If the model is standing erect, the frame will pass about the middle of the thigh ; if the model is We do not pretend to say that whenever we have to take the portrait of a learned man, or a soldier, it would be necessary to follow one of the styles that we have just indi cated; on the contrary, we merely indicate the general cha racter, leaving it to the reader to modify the aspect given to the picture, by as many differences as he finds in the indi viduals themselves. The severity of thought in the sage is tempered by enjoyment. The ardour and energy of the soldier is often accompanied by benevolence, and even ten derness. These different shades and degrees must, of course, be clearly expressed in the likeness. That which strikes us first, in the individual, is his struc ture, the width of his body in proportion to the height. It is necessary to take a sufficient distance, so that the dif ference of the planes and surfaces cannot interfere with these proportions. If the object be sitting with his knees and feet turned towards the lens, the head will be found to be on a level, upwards of a foot distant from that of the knees. This deformation would give the idea of a small head, a feeble body, and strong legs. The operator is, of course, always obliged, by the necessity of obtaining clearness in the field of his image, to take a sufficient distance. How ever, the distinctness of all the parts does not always indi cate that the proportions are preserved. The perspective effect exists, but although correct in itself, it gives incorrect appearances to the reality. Thus, the artist would allow a considerable distance, if he wishes to preserve the exact pro portions of his model; but, as his aim is not only to pro duce a correct, but also a beautiful representation, he will attempt, by varying the distance, to modify and embellish his model, without altering its character. If he wishes to take a good portrait of a person who has slender legs and a large head, he could shorten the distance a little, so as to diminish their ugliness, and give them a better proportion. Of course, the artist dare not do too much in this sense, for, unless he seizes the exact moment when the modification must not be continued, he will spoil the resemblance. W hat we say here with respect to the general proportions, is appli cable to all parts of the figure. The disposition of the abridgments, in comparison to the distance, allows the artist to preserve the general character of the stature of the indi vidual, and. at the same time, to improve it. It is impossible to foresee all the circumstances—but it is suflicient to ex plain these different optical effects to the photographer, for him to understand why so many portraits, in which the per spective is irreproachable, give the idea of individuals being little, or tall, although the originals do not in the least pos sess these proportions. The position of the personage in the frame, and the dis position of the accessories, are also practical means of determining the stature of the individual, which the photo grapher should by no means neglect. Thus, the figure will appear much larger, if the head is placed near the top of the frame and plenty of free space left at each side. It will be increased and diminished in size as it is approached to the right and left edge of the frame, with a good deal of space above it. We shall, therefore, be liable to diminish the re semblance of a portrait considerably, by not paying sufficient attention to these effects, and deprive ourselves at the same time of modifying and embellishing, to a certain extent, the proportions of the model. The choice and disposition of dress have a great influence on the proportions; and close fitting light cloth garments i crease the dimensions of the head, the hands, and the ex- re: in ties ; a flowing and ample dress, on the contrary, renders these parts little and delicate. x gain, by the direction of the light, and the distribution o t io lights and shades, the artist is also able to increase the character of the proportions which constitute the resem- blanceo tne individual, giving, at the same time, a new beauty tosthe likeness ; he will render certain parts thinner by pjunging them into the half tone, or by burying the out line in the shade ; he will deepen and augment other pro portion, by surrounding them with light. Thus, he would
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