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
Aerial perspective has not been sufficiently attended to by the painters
of pictorial backgrounds. There are many other subjects in connection
with art and photography that might be discussed with advantage--such as
composition, arrangement of accessories, size, form, character, and
fitness of the things employed; but I leave all these for another
opportunity, or to someone more able to handle the subjects. For the
present, I am content to point out those errors that arise from
neglecting true perspective, and while showing the cause, distinctively
supply a remedy.
It is not the fault of perspective in the background where the lines are
not in harmony with each other--these too frequently occur, and are
easily detected--but it is the error of painting a pictorial background
as if it were an independent picture, without reference to the
conditions under which it is to be used. The conditions of perspective
are determined by the situation of the lens and the sitter. If the
actual objects existed behind the sitter, and were photographed
simultaneously with the sitter, the same laws of perspective would
govern the two. What I urge is, that if, instead of the objects, a
representation of them be put behind the sitter, that representation be
also a correct one. The laws of perspective teach how it may be made
correctly, and the starting point is the position of the lens in
relation to the sitter.
Some may say that these conditions of painting a background cannot be
complied with, as the lens and sitter are never twice exactly in the
same relation to each other. There is less force in this objection than
at first appears. Each photographer uses the same lens for all his
_carte_ portraits--and pictorial backgrounds are very frequently used
for these--and the height of his camera, as well as the distance from
his sitter, are so nearly constant, that the small amount of errors thus
caused need not be recognized. If the errors that exist were not far
more grave, there would be no necessity for this paper. Exceptional
pictures should have corresponding backgrounds.
Public-domain text, read in full here on John Shaqi.
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