International photographer (Jan-Dec 1934)

Eighteen T h INTERNATIONAL PHOTOGRAPHER September, 1934 Composition In Practice PART II. By Walter Bluemel SIMPLICITY is the keynote of effective composition. When a scene is cluttered up with many objects the eye wanders from one to another and is distracted from the object intended to be the center of interest. Every scene should have its center of interest, to which all other parts of the picture naturally lead the eye. Most amateurs make the mistake of trying to include as much as possible into each scene, perhaps as an economy measure, with the result that it is merely a jumble of lines and forms which is anything but pleasing. There is no definite composition — no place for the eye to come to rest. The object for which the picture was taken is generally insignificant. If a person is to be the center of interest the surroundings and background should be simple and unobtrusive, so as not to distract attention from the person. Highly pictorial backgrounds are undesirable in portrait studies. If the background is important but it is desired to include a person in the scene the person can be so placed as to form part of the composition with the background, while if the person is the important thing he can be so placed and lighted as to form the center of interest to which the background is subordinated. In professional pictures the background of some action is usually kept unobtrusive by throwing it out of focus — a trick which the amateur would do well to use. This room was kept dim, suggesting the vagueness that comes before death and, when she died, the light coming through a window brightened and outlined above her the shadow of a cross — a very simple and natural composition, yet highly symbolic and in keeping with the mood of the scene. In "Queen Christina" shadow was again used powerfully, especially in the scene where the mob storms the Queen's palace and she comes to the head of the stairs to meet the angry men. The light is placed low, throwing the enlarged shadow of the mob on the wall before the Queen. This gives much more of a feeling of impending danger than would a shot of the mob alone. Shadows can frequently be used to suggest scenes which would otherwise be prohibitive. In "Viva Villa" shadows showed the hanging of peons and other gruesome scenes which it would be bad taste to show direct. This should suggest to the amateur many possibilities of showing scenes which he could otherwise not film. In a picture that I made several years ago I was faced with the problem of showing a motion picture set at night in which the director and leading lady — the principal characters of the picture — were working. Naturally I could not secure a lot of equipment to use as atmosphere, so I simply painted a silhouette of a camera, microphone boom, and some lights on a piece of glass and placed it in front of a little arc-spot, which cast an enlarged shadow on the white wall behind the characters and created a perfect illusion. In the daytime the sun could have been used to cast the shadow, though this would naturally have required a larger silhouette because the sun's rays are parallel instead of spreading like those from a spotlight. It is obvious that shadows have unlimited possibilities for the amateur. Like composition, much has been written on lighting, and in order to avoid unnecessary repetition of a much discussed subject I will merely touch upon it. The importance of lighting cannot be over-emphasized, for it determines the difference between good and bad photography. Composition and lighting run hand in hand, and is a natural effect, for the eye also tends to throw the are, in fact, interdependent, background out of focus when looking at a nearby object, The primary purpose of lighting is, of course, to obor at least is not conscious of the background. In a tain enough illumination to photograph a subject, but plot picture, where both character and background are this alone is not enough to photograph it at its best adimportant, it is best to show an in-focus longshot of vantage. The lighting must be arranged not only to both character and background and then emphasize the effect complete naturalness, but also to help the corncharacter by means of a close-up in which the background position, to create roundness and depth by making the is out of focus. The spectator is vaguely conscious of subject stand out from the background instead of to apthe background, just as he would be in a real scene, yet pear on the same plane. Direct front lighting with no is not distracted from the character. litjht from the side and rear is always flat lighting. Cross A study of professional pictures will reveal the ef lighting and back lighting, with only enough front light fectiveness of simplicity in composition. Simplicity avoids to permit proper exposure, will give much better results. confusion and concentrates the attention where it is de Cross lighting lights the objects and characters from one sired, as for instance, in the silhouette from "Frontier side, giving them relief and roundness, while backlighting Marshal," which is certainly the height of simplicity. throws a halo around them which makes them stand Sets are becoming more and more simple (note the pre out from the background, producing depth. This is a dominance of modernistic sets, themselves the acme of well known and obvious effect. The backlighting must, -implicit}') and lighting is more and more becoming the generally speaking, be brighter than the other light to chief means of composition. get the best effect. No better recent example of this can be found than In lighting interiors with artificial light every source "Men in White." The plain white walls of the hospital certainly did not offer good composition material, yet George Folsey, the cinematographer, obtained some very striking compositions merely by a skillful use of of light should have a reason, with the chief source apparently coming either from a window, a lamp or other lighting fixture, or a fireplace, whether in or out of the picture. The lighting from the natural source or light and shadow. Shadows in themselves are simplicity, sources should then be re-inforced with other lights of for they lack details, but they can be used most ef less intensity to avoid excessive contrasts and effect the fectively. In one scene, for instance, Jean Hersholt, as necessary roundness and depth. a great physician, is shown talking to Clark Gable, The composition should be built up first and lighted while on the blank wall in the background was a large to enhance it, and the rest of the lighting necessary for shadow of a microscope — an excellent symbol of medical proper exposure of the shadows filled in afterwards, science. This helps to obtain perfect composition and natural In another scene in which the nurse was dying the ness. A monotone viewing glass is a great aid in dePlease mention The International Photographer when corresponding with advertisers.