The Studio and what to Do in itPiper & Carter, 1891 - 143 halaman |
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The Studio and What to Do in It H. P. (Henry Peach) 1830-1901 Robinson Pratinjau tidak tersedia - 2016 |
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accessories admitted APLANATIC arrangement artist avoid background beautiful better blinds camera cartes-de-visite chair CHAPTER chiaroscuro child colour Daguerreotype dark difficult dress Exhibition exposure expression eyes face feel feet wide figure focus form of studio frame friends full-length furniture give glass gradation grapher grey ground H. P. ROBINSON hands head head-rest ILFORDS inches lady lean-to lens Lenses light and shade look look pleasant LUDGATE CIRCUS MANAGEMENT matter nature negative never object operator orange glass ordinary painted painters paper photographer's PHOTOGRAPHIC HANDY-BOOKS-No pictorial effect picture plate portrait group portraitist portraits taken portraiture pose position post ls practice Price prints produce reflected light Rejlander Rembrandt retouching roof ruby glass rules screen seen shadowed side shy child sitting skylight smile SOHO SQUARE sometimes standing student thing three-quarter Titian variety vignette W. K. BURTON
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Halaman 113 - While we give it credit only for depicting the merest isurface, it actually brings out the secret character with a truth that no painter would ever venture upon, even could he detect it. There is, at least, no flattery in my humble line of art. Now, here is a likeness which I have taken over and over again, and still with no better result. Tet the original wears, to common eyes, a very different expression. It would gratify me to have your judgment on this character.
Halaman 113 - As sometimes in a dead man's face, To those that watch it more and more, A likeness, hardly seen before, Comes out — to some one of his race : So, dearest, now thy brows are cold, I see thee what thou art, and know Thy likeness to the wise below, Thy kindred with the great of old.
Halaman 30 - By the choice and scenery of the background we are frequently enabled to judge how far a painter entered into his subject, whether he understood its nature, to what class it belonged, what impression it was capable of making, what passion it was calculated to arouse; the sedate, the solemn, the severe, the awful, the terrible, the sublime, the placid, the solitary, the pleasing, the gay, are stamped by it. Sometimes it ought to be negative, entirely subordinate, receding or shrinking into itself;...
Halaman 114 - You would have seen other differences had yon looked a little longer," said Holgrave, laughing, yet apparently much struck. " I can assure you that this is a modern face, and one which you will very probably meet. Now, the remarkable point is, that the original wears, to the world's eye, — and, for aught...
Halaman 106 - ... as the last trace of a habit, firmly fixed during many generations, of laughing whenever we are joyful, we can follow in our infants the gradual passage of the one into the other. It is well known to those who have the charge of young infants, that it is difficult to feel sure when certain movements about their mouths are really expressive ; that is, when they really smile. Hence I carefully watched my own infants. One of them at the age of forty-five days, and being at the time in a happy frame...
Halaman 30 - ... by it. Sometimes it ought to be negative, entirely subordinate, receding or shrinking into itself; sometimes more positive, it acts, invigorates, assists the subject, and claims attention ; sometimes its forms, sometimes its colour ought to command. — A subject in itself bordering on the usual or common, may become sublime or pathetic by the back-ground alone, and a sublime or pathetic one may become trivial and uninteresting by it...
Halaman 24 - Work, work, work ! My labor never flags ; And what are its wages ? A bed of straw, A crust of bread, and rags ; That shattered roof, and this naked floor, A table, a broken chair, And a wall so blank, my shadow I thank For sometimes falling there.
Halaman 114 - The sun, as you see, tells quite another story, and will not be coaxed out of it, after half-a-dozen patient \attempts on my part. Here we have the man, sly, subtle, hard, imperious, and, withal, cold as ice. Look at that eye! Would you like to be at its mercy? At that mouth! Could it ever smile? And yet, if you could only see the benign smile of the original! It is so much the more unfortunate, as he is a public character of some eminence, and the likeness was intended to be engraved.
Halaman 39 - ... question which can only be solved by the operator when he has that sitter before him. He must see that the light and shade fall right before he produces a picture, and with the capacity of seeing this the power of modifying it is generally accompanied. As a general principle, however, a high side light, a little in advance of the sitter, is the most important direct light ; excess of vertical light is, in most cases, to be avoided ; nevertheless, it may be useful at times, in giving force and...