1, Describe the correlation of the work and the collaboration between portrait painters and portrait photographers during the early period covered in this chapter. Portrait painting was enhanced with the collaboration of photography. It was seen first as a scientific tool for recording what an artist saw, but not as an artistic medium. It grew to the art form it is today. Early photographic portraits relied on the conventions of the painted portraits. Photographers would use things for the background like pillars or fancy drapery to enhance their picture. Portrait painters that used photography were very detailed in the way they posed a subject or arranged and lighted the subject. “The skillful handling of pose, lighting props, and décor visible in the works of the highly regarded European portraitists Franz Hanfstaengl, Antoine Samuel Adam-Salomon, and Camille Silvy became models for emulation” (Rosenblum 59). Adam-Salomon was a successful sculptor but changed his profession to photographer after seeing the work of artist like Hanfstaengl. Artists like George Frederic Watts believed photographs helped enhance his portraits and shortened the time a person had to sit for him. Most artists did not rely completely on photography but used it as a convenient tool to look back on as they painted. Still many portrait photographers found that photographs made it easier for them. They would, not only copy the subject, but touch it up and paint over …show more content…
David Octavius Hill and Robert Adamson (painter and photographer) produced many commanding portraits of individuals when they became caught up in the newly invented medium of photography. These photographs were considered some of the best portrait photography because they used the traditional artistic concepts and were able to capture true character of their subjects. In many of their photographs they were able to show a level of particularity that was not in the