The advance of photography : its history and modern applications (1911)

212 THE ADVANCE OF PHOTOGRAPHY divided into equal sections and the objects arranged according to such a plan, far from it ; such a scheme is always to be avoided. In doing so a practical plan of construction often adopted is to consider which points in the picture may be regarded as weak, which as strong. It is agreed that the centre is the weakest point of all, so this position should be avoided except in productions of a formal character. On the other hand, points which lie so that their relative distances from the sides are in the ratios 1 : 2 or 2 : 3 may be regarded as strong points, and in such a position should the most important object of the picture be placed. A picture should balance about a horizontal line through its centre, and also about a vertical line through the same point. The vertical balance — i.e. balance about the vertical line — is the more important, and we may look upon this as similar to an ordinary pair of scales, in which similar masses placed at the same distance from the pivot have the same balancing power. Carrying the analogy yet further, of course, it can be understood that a prominent object near the central line can be balanced by a much less prominent object at a greater distance from that line. The further an object is from the centre, and the more isolated it is, the greater power of attraction will it neces sarily have, and this should be borne in mind. Care must be taken not to make the system of balancing about the centre too apparent, as this will most certainly detract from the value of the picture. In good pictures where a balance about the centre has been adopted, the artist often displays a great amount of ingenuity in attempting to hide the scheme. There are many who will argue that in the ordinary photographic work one cannot be bothered as to the pictorial result, but even in portraiture a little attention to these matters will prove that the time has been well spent.