Amateur Photographer & Cinematographer (1933)

August 9th, 1933 The AMATEUR PHOTOGRAPHER ^ & CINEMATOGRAPHER g PICTURES oftke WEEK ... - . . ^ O • 7 C* ^ on the Beginners’ prints reproduced on oome L>ntical Comments &the OPPosite page. THAT some little trouble has been exercised in contriving a setting for the figure in No. 1 of the prints reproduced on the opposite page—" Sunbathing,” by Robert E. Peachey — is evident from an inspection of the print. But it is one of those things which should have been man¬ aged without becoming obvious, and, being so, its object is defeated. Subject and Setting. A background for a figure of this nature should, at least, be fairly even in tone, and decidedly of such a character that it does not challenge comparison with the subject proper. Here, there is more variety of tone in the setting than in the figure, and the consequence is that it claims the greater share of the attention. The cushions are out of tone with the background, which, in itself, is some¬ what obtrusive on account of its pattern, and its dark tone, as a whole, conflicts with the lighter tint of the cloth at the base. In such surroundings the figure is lost. It does not tell, by any means, in the way it should, and to make it do so the only thing to do is to simplify the setting. Imagine what the difference would be if in place of the present jumble of contrasts there were just one even tone, and that a shade lighter than the existing back¬ cloth. It would be no more trouble to arrange, and it only means that what is chosen for the setting should be of a plain tint and sufficiently large to cover the field of view both behind and underneath the figure. It should be creaseless and fixed to the wall be¬ hind so that it falls down and extends along the flat towards the camera in an unbroken sweep, the figure being placed upon the flat portion well in front of the termination of the curve. A Simple Substitute. A material that is often used, and one that suggests itself as the simplest substitute, is a roll of new and crease¬ less brown paper. If it is stout enough, it will stand any moderate amount of movement if fixed in the way described ; it will give just the kind of setting that shows off most figures to the best advantage ; and, with reasonable care, can be used over and over again. Moreover, it does not entail any considerable expense, and does not fall into objectionable folds as do most fabrics. Where it is necessary to provide a background, there is nothing really better, and, had it been employed in this instance, most of the features which impair the present¬ ment would have been avoided. The case is different where natural and unobtrusive settings offer them¬ selves. Such cases, however, partake of the character of figure studies, as a rule, rather than a portrait, as No. 1 is evidently intended to be. In the former category, No. 4, “ My Friend Avio,” by S. J. Vella, would be placed, for, although the whole of the figure is included in both cases, the scale is smaller in No. 4, and figure and setting have to be considered as a whole. The more important size of the figure in No. 1, coupled with the fact that the surroundings have no other func¬ tion than to set it forth, place it in the portrait class, whereas in No. 4 the setting has a definite purpose, as it shows the sitter in an out-of-door ensemble. Action a Factor. In a portrait, too, it is seldom possible, nor is it desirable, that any suggestion of action should be in¬ corporated. Not only would it intro¬ duce a feeling of incongruity, but it would prevent the full conveyance of the character of the sitter— the fun¬ damental element. With a figure study, it usually happens that the subject is represented in the act of doing something, even if it be only at rest or in contemplation, and some suggestion of an appropriate setting for the action must be furnished. Action in an artificial or obviously made-up setting would be absurd, but where the figure is designedly the main attraction, the surroundings should be kept as free from complica¬ tions as possible. “My Friend Avio ” is a good example of the sort of thing that is in mind, and so is No. 3, “ Pat,” by Capt. A. G. Corah. The latter is admirably managed, and, neither artistically nor technically, does it offer much ground for criticism. The bottom right-hand corner is a bit out of focus, but, except by an alteration of the viewpoint towards the left, it is difficult to see how it could be avoided. Such a change might be beneficial, and it is possible that it would avoid that awkward comer without disability. The Main Attraction. If the camera could be raised or placed at a greater distance from the sitter, it would help, but, in work of this nature, the position of the camera is often dictated by the limitations of the room. That the figure — -the main attraction — is properly rendered is allimportant, and, though details of this character should have due atten¬ tion, they are of comparatively minor significance. On the other hand, the boat in No. 5, “ Semaphore,” by Miss E. R. Line, and the picture which the baby is holding in No. 2, “ When I Grow Up,” by H. F. Taylor, are so inclined to insistence that they cannot be overlooked. They are elements which reduce the attraction of the respective figures, which, otherwise, would ex¬ hibit no little claim upon the attention. In the case of No. 2, particularly, the expression on the face of the child has been exceptionally well caught, and it is a pity that this excellent feature was permitted to be so ap¬ preciably deprecated by that un¬ necessary inclusion. The two remaining prints, No. 6, “ Arabida Hills,” by Miss E. Holden, and “ The Salmon Pool,” by J. J. Thompson (7), can still be character¬ ised as figure studies, although the importance of the figures is less and the surroundings greater. A Question of Type. They are shown on a yet smaller scale, and, naturally, their claim upon the attention is correspondingly dimin¬ ished. The intention is not so much to represent the figures, primarily, as figures, but rather their presence in their respective localities. They may possibly be regarded as being more in the nature of records, but the figures still remain the centre of attraction. "Mentor.” 135 19