International photographer (Jan-Dec 1934)

Twenty-two The INTERNATIONAL PHOTOGRAPHER August, 1934 sian pictures to produce a feeling of excitement. The same applies to trucking shots (where the camera is mounted on wheels and moves), but since in this case the movement usually is not so fast and does not cover such a large territory, it is not as objectionable if used wisely. The angle from which a picture is taken naturally has an important bearing on its composition. A picture which may be ugly and uninteresting from one angle may produce a striking composition from another. Art is not what you photograph, but how you photograph it. The most commonplace subjects can be made beautiful and interesting if photographed from the right angle and properly arranged and lighted, as any photographic exhibit will bear out. The most effective camera angle will at once suggest itself to the camera artist — there are few rules governing its choice, and those essentially concerning the psychological effect, or mood, created by the angle. Low angle shots invariably make the subject loom above in a threatening manner — they suggest power. Thus, when a man is to be pictured as a giant, a man of power, or a tyrant, a low angle setup is best. The Russians use this effect very excellently in their propaganda films, for their story material is especially suited to radical camera angles. Many American directors and cameramen also employ this angle in mystery, crime, and war pictures. Noteworthy recent examples can be found in "Viva Villa" and "The Scarlet Empress." The illustration shows the making of a very low angle shot for Will James' "Smoky" the angle producing the view of a person being trampled under the hoofs of the horse, which naturally makes the horse seem very threatening. Cavalry charges, stampedes, speeding vehicles and trains, angry or panicky crowds, and the like are usually best taken from a very low angle to give them a more threatening appearance. High angles, on the other hand, have just the opposite effect — they make the subject seem small and insignificant, and are therefore used by the Russians to show the subordination of the peasants before the revolution. High angles, are likewise effective in creating a dejected mood. They are, however, somewhat more difficult to compose than low angle shots, for they usually include more small objects in the background, while the background for low angle shots may be the sky, a wall, a building, or trees, which are all comparatively simple. If movement is shown from a high angle it is best to have it diagonally across the screen so that it does not divide the screen too evenly. Crazy angles, in which the camera is tilted on a horizontal plane (so that the picture is not level), or shoots from directly above or below, also have many interesting uses in pictures, such as depicting drunkenness, or insanity, for showing the viewpoint of the characters in the picture, for creating unusual designs — as is so often done with choruses in musical pictures — , and to increase the feeling of turmoil and panic in battle and riot scenes, as in the battle sequences of "Farewell to Arms" and "Operator 13." The still of Robert Montgomery illustrates the offbalance and unstable effect produced by a crazy angle, the effect being as if the entire set is about to collapse on the sitter. This suggests the use of the angle in earthquake, flood, and tornado scenes. Crazy angle shots must, because of their unnaturalness, be used sparingly and preferable in short cuts, otherwise they will become too obvious and lose their effectiveness. The angle chosen has much to do with the composition of the picture. It can produce a predominence of horizontal, vertical, or diagonal lines, each of which, as explained before, has its own psychological significance. The choice of angle permits exclusion of undesired objects or the inclusion of desired ones. The background is an important factor in determining the camera angle, for it should not only form good composition with the principle object, but should make it stand out clearly, that is, it should be in contrast to the principle object or character — a light background for a dark object (as in the pastoral scene) and vice versa. Simplicity of background, when the foreground is the center of interest, is also desirable. Amateurs, I believe, are inclined to be too conservative in their camera placement. Not only do they seem to fear unusual angles, but even their normal angles (eye level angles) usually show little initiative in obtaining the best effects and compositions. The type of shot used, depends, of course, on the nature of the action. If the action of a crowd is what we are interested in a full shot of the crowd must be used, while if it is the effect of the crowd on an individual in the crowd a closeup of that individual is necessary. Too often amateurs disregard the importance of camera distance in properly putting a scene across to the audience — in making the audience associate itself with that scene and feel a part of it. Longshots are important in establishing a locale, but too many of them make the picture uninteresting because the audience does not feel closely enough connected with what is going on. The natural instinct of the spectator is to want to get up closer and notice the details. Closeups bring the details to the spectator ; they are a powerful aid to dramatic expression when used properly, but must not be overworked. Too much use of closeups certainly does not seem to be the case with the average amateur. Very often titles are used where a good closeup would serve just as well, and many of the longshots would be better if taken as closeups, or at least had closeups cut into them. Notice how every long shot in professional pictures is intercut with closer shots. If the camera angle were not changed throughout a long scene it would become mighty monotonous. Closeups further serve to eliminate undesirable parts of scenery or action and concentrating on the center of interest. After the scene has once been established in long shot it is usually better to work in closer shots, showing the details of the scene. The importance of details should not be overlooked. Not only do they usually lend themselves well to good pictorial composition because they can be easily arranged and lighted, but they also serve to give dramatic emphasis, if intelligently used. This is especially true in 16mm. pictures, for the screen is so much smaller than in theatres showing 35mm. films that details tend to be lost in long shots. It is a well known fact that a larger picture is more impressive than the same one in smaller size, which is due partly to the fact that larger pictures more nearly fill the natural angle of vision than do smaller ones, and one is less inclined to be conscious of its borders. The chief reason for the impressiveness of larger pictures, however, is that they bring out the details better and necessitate less eye strain to perceive them. In 16mm. pictures, where the screen size is limited, it is best, therefore, to move the camera up closer to the object to be photographed, and the details naturally become more evident. In interiors the amateur should especially welcome details, for it is naturally much easier, with limited equipment, to light closeups than long shots. Details are an indispensable aid to all travel pictures. No matter how many beautiful pictorial shots a travel picture mav contain, it will soon lose the interest of the audience if these are not interspersed with well chosen closeups of native life — whether it be human, animal ,or plant — and its various aspects. Japan, for instance, offers many beautiful scenic possibilities, but the chances are that the audience will be more interested in the play of some Japanese children, or in a shot of a street beggar, or in details of the market place and the waterfront, or other human interest scenes. The two — the scenic and the commonplace— should always be blended together to produce contrasts which add interest, realism, and punch to the picture. The beauty of one scene can be enhanced by contrast with the ugliness of another. Please mention The International Photographer when corresponding with advertisers.