The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-10-14
Is PHOTOGRAPHY A FINE ART ,
Fron, the Philadelphia PhotogyaDLe,.

complete result, namely the intellectual ant
mechanical. The former is knowledge o.
what constitutes the grand and beautiful
sanctioned by canons of Judgment, familiar
TO persons who have made the art of desi n
their peculiar study. The other element !,
purely mechanical, within the reach of most
persons, and is the lowest object of the
artist
The representation of external forms bv
their mechanical propeTtiesF has. for a lono
time. it would seem, claimed the chief attena
tlon of photographers, and even at the pre-
sent day, their uttimd Hde is to produce
clear, sharp pictures with fair distribution of
light and shade, by the proper use of chemi-
calls and good camera The higher branch of
the art, that which would entitle it to rank as
a Pee drt, is almost entirely neglected, or. at
| Dest, out little understood or practised. Pho
| tography, so represented, is nothing more
IMAM good mechanism, aided by chemistry
and natural laws but it is not until nature
mechanism, and chemistry have done their
parts, that the work of the artist commences
hitherto, photography has been denied
POsiuoh within the charmed circle of the
liberal arts, on the ground that its field of
operation did not extend bevond the limits
OF mechanical sciences but such is NOT tine
case, Tor 1t embodies to certain extent An
eielhent which, If properly carried out.
should entltle it to rank as a fine art. that is
design. -'
Photography, then, treated as n fine art
ana as applied to portrature, is not merely
the production of a clear. sharp image or
portrait, with effective lights and shadows.
masses OF drapery placed in every conceiv-
able form, and relieved by landscape back,
grounds, and host of objects introduced at
randonl, as accessories to make out a picture.
Accessories are very serviceable in their
proper places, but should be used intelli-
Sehtly as adlunctS to composition or as n
means Of balancing the lights and shadows
yet never IN such manner as to become
marked features in a portrait; this is a we'll
established rule, the value Of which every
artist appreciates
Unfortunately: very few photographers are
artists, hence the production of good nor
traits is generally the result of chance. mani
rested by repeated sittings and many failures
aithouSh the photographer has used his best
ehorts, with due care to mechanical execu-
ton; whereas, if he worked by well-defned
art rules applicable to every subject placed
IN ms hands, he would perceive at once the
dithcultles to be encountered and the reme-
dies would readily suggest themselves Nor
should he depend upon accidental ar
rangements for effect, which seldom occur.
but, when occurring, to be recognized as |
valuable, and seized upon with prOmptness |
Every portrait is, more or less a compo |
slton, whether in the hands of the painter or |
photographer, and tho same art-ruies govern |
both, except as to color, light and shade in |
photography taking the place of color: in |
TACT, every essential principle of high art |
may be exhibited in portraiture. and the |
questions very naturally arise:-What are |
those essential principles ? And how are they |
to be portrayed? We affirm that in every |
countenance there is a general impress of |
thoughts and feeling which constitutes the |
habitual mental likeness of the individual |
and, although it may be difficult for the |
photographer to obtain it from his sitter.
owing to his restrained position and the |
painful effect of light upon his eyes, vet.
with proper suggestions to his sitter. and
knowledge of the means to relieve the eve,
the difficulties are obviated, or, at least.
greatly lessened.
Presuming thst the artist has acquired suffi-
clent knowledge in the use of the camera.
chemical and mechanical appliances, the
first point for his attention is the nose of the
figure, and in this the artist should not, as is
often the case, create a position, for although
1t may be spirited, it may not be natural to
the person. Attitude has much to do with
the likeness, and, with careful observation.
the artist can easily avail himself of a Dose
quite IN accordance with the habit of the
sitter.
portrait is valued more as a faithful
likeness than as work of art, and, while an |
plying art rules, the artist, if true to himself
and to his SITTER will use his best endeayors
towards perfecting the likeness.
The next point for consideration is the adj
justment of draperies.
Photographers have Just reason TO complain
OF the appropriateness of the many dresses
which appear in their ateliers, particularly
those of ladies, who imagine that the most
costly and snowy dresses and ornaments are
required for good picture Such dresses
are an abomination Of the artist, from the
fact that color cannot be represented, and.
when OF light shade with bright ornaments
the picture will be spotty and lack the repose |
necessary for harmonious effect; very light
dresses, as general rule, are to be avoided.
as also the wearing of large white collars.
nandkerchlefs, etc The best French artists
md some of our own, refuse taking portraits
n unsuitable dresses and ladies should un
lerstand the reason why
The best dress for effect is black or dark
yelvet, next to that any dark silk or cloth.
)ertain shades of purple are Objectionable.
IS they take white or nearly so, in the photo
Taph. AS every fold in the drapery produces /
line, care should be taken in the adjust
nent of draperies to make agreeable and
lowing lines, and to avoid repeated lines in :
he same direction. In full-length and three
quarter portraits, it is Of great value to intro
luce horizontal or vertical line, which acts l
S foil to the many-curved lines, and also I
mparts dignity, frmness, and grandeur to
he composition
Titan, whose portraits have never been
qualled in their combined eXcellencies of 5
on1 colpr oftap infrOduoad both