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ART IN PHOTOGRAPHY 211
breaks, and the river or other object is lost sight of, if the reappearance takes place in such a position as to carry the eye forward.
This method of introducing the eye to the picture is considered the best when the subject is one in which the perspective is very deep.
In all pictures there should be some means of introduction, just as there should also be some object to which the attention is naturally drawn, and the line of introduction should lead the eye from object to object of increasing interest until the climax is reached ; then it should not happen that the attention has to be suddenly withdrawn, or that one has, as it were, to retrace the path along the line of entry, but some means of exit should be present, in the shape of some more or less vacant patch in the background, by which the eye may remove its attention from the picture.
In landscape views in which there are openings through trees, or skies with plenty of well-defined cloud and clear spaces, try to arrange that only one of these clearer spaces shall be at all prominently brought to the notice of the observer — in other words, if possible allow only one means of exit from the picture.
The exit should also be so carefully placed that the eye must first traverse the whole of the detail before reaching it.
Another point of the utmost importance is the relative position in the picture of the most prominent object. One thing should be kept in mind — that is, it certainly should not, as a rule, occupy the central position in the view.
As a general rule there will be several objects in the view, and the relative positions of these in the picture plane will greatly influence the value of the picture from an artist's standpoint. There should be what is usually spoken of as a good balance of the parts.
This does not mean that the picture plane should be