Amateur Photographer & Cinematographer (1933)

October 4th, 1933 The AMATEUR PHOTOGRAPHER ft 6 CINEMATOGRAPHER a P ictorial 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. cc SEA-GULLS,” by Lena Schur. THAT high-speed work in photo¬ graphy need not necessarily be devoid of the pictorial element is very conclusively demonstrated in this instance. It is quite evident from the fact that the sea-gulls have been caught on the wing, and that there is /scarcely any visible blurring of their images, that a very short exposure must have been given, and the feeling of air and space, together with the mood suggested by the set¬ ting of a nicely gradated sky, afford proof of the. pictorial content. Speed and Action. The difficulties attendant upon the securing of birds in actual flight must be experi¬ enced to be really appre¬ ciated. Not only is it the reverse of easy to obtain a good grouping, but, if and when it occurs, it must be the work of an instant to centre it on the plate and make the exposure. The rapidity of movement of the birds must be accom¬ panied by a like speed in action on the part of the photographer, and, as the exposure must be curtailed to prevent the appearance of movement in the subject — nothing more than 1 /300th of a second is likely to be efficient — it is almost a condition precedent that the lens shall be employed at its maximum aperture. Familiarity with one’s apparatus, and the ability to bring it into action without the slightest loss of time, are also obviously essential, while accuracy in focussing is another requirement that must be fully satisfied. Even so, the acquiring of the experience necessary to ensure a reasonable certainty of a result means the expenditure of innumerable plates, and, in all probability, quite a number will fail to achieve the desired end for every one that is successful. Liberty and Latitude. In circumstances such as these it is a wise precaution to allow a sufficient margin over and above what will eventually be needed for the final print. If this be done, the portion that is actually required can be subsequently determined, and enlarged to any reasonable size. The expedient cer¬ tainly will minimise the attendant difficulties in this class of work, but the necessity for a very careful and instan¬ taneous appreciation of the right moment for making the exposure still remains. That it has been exercised in this case is obvious from the ex¬ cellent formation of the group, of which the largest bird (r) is evidently the chief. Its size, of course, endows it with a greater importance than can be as¬ cribed to the others, and, besides, it has a certain advantage in position, it being nearer to one of the inter¬ secting points formed by a horizontal and vertical division of the picture into thirds than the rest. In addition, its body, as the strongest dark, comes against the lightest part of the sky, and the concentration of interest so accruing further intensifies its pull. The next in point of attraction is the gull to the right (2), which serves as an accent and as a foil to (1). The presence of the uppermost bird (3), would seem somewhat isolated were it not for the placing of (4) in between, the latter establishing a connecting link between the former and the two larger birds. It will be seen that the light in the sky above the three lower birds assumes a semi-circular shape. The birds in question occur at intervals on a line, also semi¬ circular in form, but in oppo¬ sition, and this completes, in a rough sort of way, a circular formation. Light and Space. Reference to the sketch will indicate the formation, and it will be observed how useful it is in holding the composition together. More¬ over, it localises the interest in what is enclosed, and to this, and to the fact that therein is shown the bright¬ est light, is to be ascribed the excellent impression of light and luminosity that the picture so well conveys. That impression is consider¬ ably emphasised by the con¬ trast afforded by the presence of the darks of the bodies of the birds, and, altogether, the arrangement of the com¬ position and the inclusion of so attractive an effect make up exceed¬ ingly well, despite the manifold diffi¬ culties to which reference has already been made. It is a fine and vigorous piece of work, and comes from the annual exhibition of the Royal Photo¬ graphic Society which now is on its closing week, so that the opportunity of inspecting the original, which is worthy of considered study, only remains open until Saturday next, the 7th October. Those who do visit the exhibition will be able to note the artistic feeling apparent in many other subjects in the “nature” section. “ Mentor.” 319