Amateur Photographer & Cinematographer (1933)

October 4th, 1933 Tw AMATEUR PHOTOGRAPHER rc 6 CINEMATOGRAPHER a PICTURES of the WEEK Some Critical Comments on the Beginners’ prints reproduced the opposite page. on IF the art of the present day can be said to be divided into two schools of thought — the traditional and the modern — Nos. 1, 2 and 3 of the prints reproduced on the opposite page would seem to incline to the latter, and Nos. 4, 5 and 6 would belong to the former. The Two Schools. There is, naturally, a good deal to be said on behalf of both sides. Those favouring the traditional have, at least, the soundness that comes from experience extending over centuries, and the satisfaction of knowing that their outlook has stood the test of time. On the other hand, the modern school seek to express their artistic emotions in a way that has not been done before, or to show it either in unusual aspects or from novel and intriguing points of view, while their selection of subject material is, in the main, characterised by an absence of convention. In No. x, “ Sundown,” by R. Midgley, the choice of an in¬ dustrial structure as the principal feature of the subject material, as distinct from a natural adjunct of a landscape, would appear to indicate a leaning towards the unconventional and to betray the influence of the modem school. It may be, to some extent, imitative of work done by more experienced pictorialists, examples of which have appeared from time to time on our centre pages, but, whether this be the case or not, it does serve to show that there are possibilities for picture¬ making in subjects apart from land¬ scapes of the conventional type. Traditional and Modern. From the pictorial point of view, the rendering might be considerably improved if the tone of the immediate foreground were darkened, and if a little more emphasis could be imparted to the puffs of steam. Such an adjust¬ ment would bring out the nature of the subject better, and stress the steam as one of the most attractive features, while if, on another occasion, the addition of smoke issuing from that upstanding chimney could also be incorporated, the effect of the whole would be immensely appreciated. The picture would then suggest an aspect of beauty that, even in such unpromising surroundings, sometimes makes an appearance, and, in this, its ad¬ herence to the modern school is shown. “ Scottish Hills ” (6), by G. W. Bagnall, consists of a scene in which, apart from a house or two, there is nothing but elemental nature. It is pure landscape. It suffers a little from the lack of an object to serve as the centre of interest, it is true, but it is based upon the traditional outlook in its selection of' subject matter, and, in a modest sort of way, illustrates the attraction of the scene it repre¬ sents. It is a sound rendering of the natural beauties existing at the spot, and is enhanced by the appeal of the charmingly luminous sky. Contrast of Types. Of the same class, though the some¬ what modem figures introduce a note of complication, is “ Snapping ” (5), by Margaret Cole. The object of introducing those figures is obscure, for they neither accord -with the natural character of the scene, nor do they exhibit any particular attraction in themselves. There may be a certain interest attaching to their pursuit, but it is of a topographical rather than a pictorial nature, and, if they can be disregarded, the subject matter, other¬ wise, has much the same attraction as No. 6, even if it does not attain quite the same level artistically. Neither, however, can be regarded as specially successful, even after due allowance has been made for the class in which they were entered, and, as they have been taken as representative of the traditional school, it is unfortunate they do not stand up to comparison with the other examples of the opposite trend. This should certainly not be the case, for, of the two classes, neither can truly be said to surpass the other. A good landscape may display an appeal quite equal to anything that the modems can show. No. 4, “ Sunset on the Thames,” by S. A. Brown, attains a much higher standard, and, by the tradition established by a school of painting, may be taken as belonging to the older category. Yet it has elements — the industrial build¬ ings, docks and urban surroundings — which might indicate a leaning toward the later line of thought. Natural Beauties. Nevertheless, these elements are of a somewhat minor significance, and the real attraction of the work lies in its rendering of a very pleasing evening effect — an effect which is nature’s own. It could be wished, perhaps, that the chimney on the right had been excluded, and a little more included on the left. The composition would be more satisfactory, but, in its other aspects, the print is decidedly at¬ tractive, and a good illustration of the work of the traditional school. A marked contrast is to be seen in No. 2, “ Telegraph,” by James Holgate. Here, the line of sight is directed almost straight upwards, and, conse¬ quent upon the adoption of such an extraordinary point of view, a novel aspect of an ordinary thing is pre¬ sented. The print is rather over¬ printed, but it does at least provide an example of the sort of thing the modem school essay. There is a suggestion of pattern in the form of the structure itself, and it is shown against a setting of sky and cloud which is not unpleasing. From Above and Below. That there is an attraction is undeniable, but, while it will not appeal to most people on account of its pronounced eccentricity, it has an asset in the newness of outlook it expresses, and its individuality is unquestionable . Apart from its over -printing, its technique is good, and compares very favourably with any on the page. No. 3, “ Polished Tops,” by P. Aldred, differs considerably, as not only is it somewhat under-printed and washy in its tones, but, in its viewpoint, a standpoint above the subject has been chosen instead of one below. Owing to the under-printing, and, to some extent, to the prosaic nature of the subject material, what effect there might be is not fully brought out, but, if it can be imagined what it ought to be, it could be taken as a further illustration of the newer school on account of its unusual height of viewpoint. “ Mentor.”