Amateur Photographer & Cinematographer (1933)

Thi amateur photographer p 6 CINEMATOGRAPHER a August 1 6th, P ictorial Analysis 1933 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. “HAPPY DAYS,” by Frank W. THAT unwanted intrusions cannot always be avoided, even by the more experienced worker, is exemplified in this picture of Mr. Murrell’s, for the indistinct figure on the left undoubtedly is a drawback, and would scarcely have been included had its existence been perceived. The Vital Interval. There is a further factor to be considered, however, in dealing with subjects of this character, and that is the time lag that occurs between the pressure on the shutter re¬ lease and the actual com¬ mencement of the exposure. There is a momentary inter¬ val, varying according to the type of shutter, the form of release, and the class of camera, between the pressing of the trigger and the ex¬ posure, and if there should happen to be a swiftly moving object coming on the scene, it may be the case that that vital interval may be re¬ sponsible for an inclusion that would not otherwise arise. Owing to the complications introduced by the presence of the mirror and the necessity for raising it during the expo¬ sure, the period of lag, per¬ haps, is greater with a reflex than most other types of apparatus. The inclination, with this type of instrument, too, is to rely upon the appearance of the image on the screen, and to judge the moment for making the ex¬ posure from it. In these circumstances, there is always the possibility that, just for the moment when the image disappears and be¬ tween that and the release of the shutter, something unforeseen may make an appearance on the resulting negative. It is possible that such was re¬ sponsible for the inclusion of the figure in this case, but, in the absence of definite data, it is impossible to say. The danger of unwanted inclusions, perhaps, is more easily countered by the employment of the frame pattern of direct-vision finder, for, besides showing the amount of subject that will be included, it enables objects outside the field of view to be seen, and, if -the period of lag be known, encroachments can be avoided. Arrangement and Balance. Figures entering the field of view from either side can, with this type of finder, be guarded against, but, when they come from behind the operator, nothing, except perhaps an acute sense of hearing, is of any avail. It must be emphasised, however, that .the period of time elapsing between the release of the shutter and the time of exposure must be known, not only so that intrusions may be avoided, but also so that the subject proper shall be caught at just the right instant. In this latter respect, the subject of our discussion is extraordinarily well judged, for the principal figure Murrell. s (1) is shown with a most engaging expression and in a delightful pose. Moreover, her freedom from camera consciousness — so often a drawback where figures are concerned — is note¬ worthy and affords evidence of the author’s stalking powers. The direction in which the light is falling, too, is most fortunate. It shows off the dainty profile to perfection, and its grace is stressed by comparison with the tousled head of the secondary figure (2) behind, which, besides, affords a dark to relieve the lights on the face of the first. These also attain an unusual value in view of their contrast against the slightly darker tones of the well-graded sky. That these distinctions are so well displayed are attri¬ butable to the excellence of the technique, for not only must the exposure have been correctly estimated, but the after processes of development and printing must have been carried out with precision and a high degree of skill. Compositionally, the figures are well placed, and the needful balance is afforded by the accent formed by the bucket (3), which completes the scheme of arrangement. Retouching and Control. Were it not for the presence of this item (3) it might have been possible to regard the intruding figure (4) as the balancing accent, but, in view of his pronounced diffusion in comparison with the sharply-defined bucket, he remains a feature which the picture would be better without. Now that the negative has been made, there is no method by which he can be removed except by control, and, possibly, it would be preferable for the darker portions of his figure to be retouched on the negative, and the lighter on the print. It would be comparatively easy to match the surrounding tones in this way rather than by the employment of the knife, which, more often than not, is un¬ necessarily obvious. “ Mentor.”