File:The American annual of photography (1912) (14763487454).jpg

Identifier: americanannualof1912newy (find matches)
Title: The American annual of photography
Year: 1912 (1910s)
Authors:
Subjects: Photography
Publisher: New York : Tennant and Ward
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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bservation. Cultivate itand take its meaning to heart. Make a start by examiningpaintings by such a maker of tone as was Rembrandt; onewill probably have recourse to the reproductions. Those inblack and white will teach the photographer many lessons.Notice the subtle range of tone in most of the portraits, thebeautiful rendering of flesh tones; there is an absence ofhard whites and blacks. The luminosity of the backgrounds can come in for com-ment. They are not black, mind you, but dark and full oflight; our photographic background is as dead as dead canbe. If our flesh tones are to be good, well, our grounds mustalso be luminous. A study of the best modern portrait painters would be anadvantage, even if in reproductions, as very little is lost now-a-days in the etchers art. One of the Photo Miniature Series,No. 95, deals effectively with tone principles. Add it to yourlibrary, if you have not got it there. Let the high lightsfall on the face. This is a tip that many photographers 138
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THE SISTERS. Illustrating Article Tone Values In Portrait Photography, by Harold Cazneaux. have followed carefully, and have accordingly come somecroppers as regards tone. Suppose the sitter wears a whitecollar or fur. Would it be correct to place a higher lightvalue on the face than that reflected by the white collar orfur? Certainly not; that collar or fur would be out of tone. If the photographer observes whilst being shaved somemorning the effect of the white lather against his face, hemay be surprised to learn how much darker is his flesh intone as compared to white. White has the property of makinga gray look darker by contrast. Now, if black is added, suchas drapery, the white seems intensified. This also applies tothe black. If the white collar is removed, the black seemsless intense, but the flesh tones now appear lighter but farfrom white, as has been proved. How many of us have seen portraits of people arranged indark dresses with white faces? A knowledge of the tonevalues

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