Amateur Photographer & Cinematographer (1933)

August 9th, 1933 The AMATEUR PHOTOGRAPHER p 6 CINEMATOGRAPHER a Victoria l Analysis Every week one of the pictures reproduced on an art page will be analysed in detail for the benefit of readers of the paper who are seeking to improve their pictorial work. “THE POOL JN THE WOODS,” by S. P. Ress. APROPOS of the remarks expressed on the preceding page concerning the classes into which pictures containing figures are placed, it is interesting to consider this example, which, while it falls on the border line, would no doubt be regarded by the majority as more suitably de¬ scribed as a “landscape with figures.” Relative Significance. In brief, the effect of sunshine in beautifying the woodland landscape is the motive, and the figures are added as embellishments. The relative significance of the landscape and fig¬ ures is altered from that obtaining in the examples discussed on the preceding page, the subject proper be¬ ing the landscape. In the former cases, the landscape was second¬ ary, but, here, it is only after scrutiny that the presence of the figures is felt. Nevertheless, of the individual items of which the subject is composed, the group of figures (1) con¬ stitute the chief. In themselves, they have more innate attrac¬ tion than any other single object, princi¬ pally because of the human interest they excite. No other element, considered as an element, has an equal pull. Neither the water, the leaves thereon, nor any one of the trees claims an equal share of the attention, and it is primarily on these counts, rather than by force of placing, or chiaroscuro, or any other composition expedient, that they at¬ tain principality. It seems to be that the lack of competition elsewhere permits them to become significant rather than any intrinsic interest, other than human, of their own. The Factor of Position. It will readily be recognised that their placing, so near the right-hand edge, is weak, and the idea in allowing them to assume such a position seems to be that there they attract and hold the attention momentarily but direct the eye to the sunlit foliage beyond. There is, no doubt, much to be said in support of this point of view, for at least it emphasises the effect at the expense of the figures, and, presum¬ ably, it is intentional. It definitely precludes the possibility of relegating the subject to any other category, but it has the drawback that, with the chief object of interest so weakly placed, the composition as a whole is likewise weakened. It could scarcely be said to be wrong, nor is it in any way unpleasing, but it might be as well to consider if, with the group in a stronger position, there would or would not be any pictorial advantage. Supposing the group were centred about the spot indicated by the figure (2), their scale and disposition being the same, and that the figures could be so placed that either their fights came against a moderately darker tone or their darks against a patch of sunlight. The altered position would endow the group with strength, 136 and the difference in the arrangement of the light and shade would not only show it in relief and cause it to be better distinguished from the sur¬ roundings, but its principality would also be confirmed and stressed. With the prime importance so more definitely located in the group, the strength of the whole composition would be vastly greater, and the picture would achieve a correspondingly greater degree of unity. It is probably true that the adjust¬ ment would cause the print to verge towards the class of “ figure studies ” in place of “ landscape with figures,” but the main thing — the effect — would, if anything, be enhanced by the more forceful arrange¬ ment of the composi¬ tion, and the classi¬ fication would become immaterial. Re-arrangement and Result. As a matter of fact, a quite pleasing re¬ arrangement could be secured by trimming the print on a fine between the two trees in the centre— indi¬ cated in the sketch by a dotted fine — the por¬ tion to the left being dispensed with. The trim, whilst scarcely as effective as the adjustment already suggested, has a similar result, inasmuch as the composition is strengthened in a simi¬ lar way ; but, in view of their relative scale, the figures would become much more important, and, though their posing and arrangement is extremely good, it is questionable if their in¬ creased scale would not involve some little diminution in the pictorial value of the effect. However, the experi¬ ment would be worth a trial ; but the bicycle resting against the tree towards the right should be touched out, for it is by no means in accord with the general character of the scene. “ Mentor.” 20