The Evolution of Photography: With a Chronological Record of Discoveries, Inventions, Etc., Contributions to Photographic Literature, and Personal Reminescences Extending over Forty YearsWerge, John, active 1854-1890
History
The Evolution of Photography: With a Chronological Record of Discoveries, Inventions, Etc., Contributions to Photographic Literature, and Personal Reminescences Extending over Forty Years
Werge, John, active 1854-1890
Photography -- History
It will be my endeavour to point out, in this paper, some errors that
have crept into photographers' and artists' studios, and I hope to be
able to suggest a remedy that will lessen these evils, and elevate
photography in the scale of art. The faults in pictorial backgrounds
that I invite your attention to, arise from the neglect of the
principles of linear and aerial perspective. I do not speak of the
errors in perspective that may exist in the backgrounds themselves,
viewing them as pictures; but I refer to the manifest fault of depicting
the sitter--the principal object--according to one condition of
perspective, and the background that is placed behind him according to
another. An unpardonable error in any work of art, whether photograph or
painting, is to represent a natural object in an unnatural position. By
this I do not mean an awkward and constrained attitude, but a false
position of the principal subject in relation to the other objects by
which it is surrounded. We frequently see portraits, both full-length
and three-quarter size, with landscape backgrounds--or a bit of
landscape to be seen through a painted or actual window--of the most
unnatural proportions in relation to the figure itself. The head of the
subject is stuck high in the heavens--sometimes so high that, in
relation to the painted landscape, nothing shorter than a church steeple
could attain such an altitude. The trees and castles of the pretty
landscape, supposed to be behind the sitter, are like children's toys;
the mountains are like footballs in size, and the "horizon" is not so
much in relation to the figure as the width of a fishpond is to a man
standing on one side of it. It must be admitted that artists themselves
have set this bad example of departing from truth to give increased
importance to their subjects by placing their figures against diminutive
backgrounds; but that is a liberty taken with nature which photographers
should neither imitate nor allow. Photography is, in all other respects,
so rigidly truthful that it cannot consistently sanction such a
violation of natural laws.
Public-domain text, read in full here on John Shaqi.
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