Amateur Photographer & Cinematographer (1933)

July 26th, 1933 iHf AMATEUR PHOTOGRAPHER « 6 CINEMATOGRAPHER o PICTURES oftkeWEER > wi .. ■ r C r* . . 7 /°* on the Beginners’ prints reproduced on oome Ljntical vjomments the opposite page. THE sense of light in " Pontikonissi,” by S. J. Vella, No. 1 of the prints reproduced on the opposite page, is very attractive, and, pictorially, provides an admirable motive. It is well expressed, but had there been just a shade more tone in the upper portion of the sky it would have been infinitely better conveyed. Printing Depth. The print seems to be a trifle under¬ printed. This, however, is a defect that can easily be remedied by in¬ creasing the printing exposure, but it is scarcely possible that it will supply just that type of increased depth that is needed. Extending the printing time will give a general increase in depth throughout, but, while this is de¬ sirable, the touch that is necessary to enhance the feeling of luminosity and light is a gradual deepening of tone from horizon to zenith. The effect is one that the eye perceives, but is seldom reproduced by the camera. It is, therefore, necessary that a little adjustment be made in printing in order that that distinction of tone may be simulated, and, possibly, this is best arranged by allowing the upper part of the sky to be exposed to the printing light for a longer time. It would, of course, be necessary that the mask employed to cover the lower portion during this extended exposure should be kept moving, and the time required would have to be found by experiment. Not only would the feeling of light be very considerably enhanced, but the lights in the centre and lower portion would gain by force of con¬ trast, while the interest, also, would more definitely be retained well within the central portion. Sunniness and Light. That a feeling of either sunshine or luminosity must be incorporated in any landscape subject, with very few exceptions, is a truism ; and that all the prints reproduced on the opposite page this week, where any proportion of sky is included, could do with similar treatment to that recom¬ mended for No. 1, is equally un¬ deniable. No. 2, “ Devon,” by J. H. Sladdon, needs both a greater depth of print¬ ing as well as a little extra in the upper part of the sky ; and No. 3, “ A Sunny Day in Devon,” by F. Mocket, while of sufficient depth of tone in general, also needs the same adjustment towards the top. In both these examples, there is evidence that the sun was shining at the time the exposure of the negative was made, yet, because its influence is so widespread, and there is not an adequate amount of shadow to afford it the needful relief, the impression of sunshine is not conveyed in such a way that it can be regarded as the pictorial motive. In point of fact, if anybody unaccustomed to the photographic rendering of landscape were asked whether sunshine were present or not, it would be difficult to form an immediate opinion. A close scrutiny would be necessary before any decision could be arrived at, and, that being so, it is pretty evident that, in the artistic sense, the sunlight is valueless. The Pictorial Motive. In such case, before the prints can be regarded as pictures — i.e., as distinct from records — they must in¬ clude an impression of light, or they are without pictorial motive. The lowering of the sky tone to¬ wards the top does a great deal to enable that impression to be imparted, and, in the case of No. 5, “ Cape Point,” by F. C. Harris, where the composition is otherwise of excellent form, the expedient is one that is necessary not only to enhance the suggestion of luminosity, but also to force the interest towards the horizon and complete the arrangement. The fine shape of the promontory is very well employed, and gives point to the picture, even as it stands, but it would gain tremendously in strength and impressiveness with the incorpo¬ ration of the suggested shading off at the top. A hint of difference in tone is shown in the original, but it does need to be exaggerated a trifle if the feeling of light is to be fully brought out. In No. 6, " Glencoe,” by G. C. Taylor, the sky is overcast and covered with 89 clouds, and it might be thought that, in such circumstances, the case would be altered. It is not so, however, and it is every bit as important that the tone should brighten as it approaches the horizon, whereas, in actual fact, it is as light along the top edge as anywhere. Moving Clouds. Judging from the formation of the clouds, they would be moving fairly rapidly, and it is quite likely that, within a little time, an arrangement approximating that recommended would present itself. Sooner or later, the sky near the horizon would brighten and the por¬ tion above grow darker, and it would have been wise to have waited for such a disposition to occur. Now, of course, there is no alternative but to arrange for the upper portion of the sky to be deepened by local extra printing, and, fortunately, it can be done without inviting a suggestion of untruth. In all the prints so far discussed, the sky is an integral feature and cannot be dispensed with. It is the source on which the sense of luminosity largely depends, but in a woodland subject, like No. 4, “ September Mist,” by Harold Mann, the feeling rests en¬ tirely on the sunshine filtering through the foliage, and the presence of those bits of sky is a defect. What happens is that the light afforded by the effect of sunlight on the subject matter lower down is very severely depreciated by comparison with, or the competition of, the stronger bits of light arising from the sky. Competition Avoided. The latter destroys the effect of the former, as may be readily seen if the bits of sky in question are covered up or the upper portion masked. Then, the value of the sunshine and its effect upon the misty atmosphere is wonderfully improved, and, in order that that effect may be re¬ tained, the lights of the sky should either be removed by trimming or subdued by local extra printing in the same way that was suggested for the darkening of the sky tone in the preceding examples. " Mentor.” 2 1