Amateur Photographer & Cinematographer (1933)

k AMATEUR PHOTOGRAPHER n 6 CINEMATOGRAPHER a October nth, 1933 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. “ ANDACHT/' by Annie Siehs. INTERESTING as this picture un¬ doubtedly is in its presentation of an interlude in a ceremony of a religious character, and in the romance suggested in its survival from the past, it yet has, in addition, the fascination imparted by its attractive and highly pictorial effect of luminosity. On the technical side, too, it is pleasing on account of the quality of its tones and in its delicacy of key. Ancient Associations. It is true that, in this country, we have our proces¬ sions and kindred ceremonies, but, though their origin may be traced to antiquity, it is doubtful if, in any such case, the traditional costumes are retained, and, naturally, with them goes most of the quaint¬ ness and romanticism with which this picture is endowed. In the more remote dis¬ tricts of the Continent, how¬ ever, survivals still exist, as this example demonstrates, and most of us, no doubt, will have recollections of the work of the Spanish master— Jose Ortiz Echague — whose work in the same direction is both arresting and powerful. In Spain, so he tells us, it is becoming increasingly diffi¬ cult to secure types in their traditional dress, it, unfor¬ tunately, being relinquished in favour of the almost universal mode of the present day. In Austria, from whence comes this picture, the story is much the same, and in a few years’ time an example like this may be impossible to secure. The ancient associations of the picture, which form the literary con¬ tent, enhance its attractions and introduce a sense of the romantic. It is a great pity that, with the lapse of time, these things must go, and, if only as a record, a picture such as this will become increasingly valuable as the rarity of the subject material increases. It is essentially, therefore, a task for photography to make records of this type whenever the opportunity occurs. Having regard to the character of the subject, it has been handled in an appropriately reverent way. It is highly impressive and dignified, and shows a devotional subject treated in a devotional way. Its feeling of light is remarkable, and originates, in the first place, in the manner in which the scene itself was illumined, and, se¬ condly, in the high key in which the print is presented. There are prac¬ tically no darks of any real depth, and the deepest tone does not go much beyond a half-tone. Yet the lights are beautifully modulated, and the general tone is most harmonious. The principal light, of course, is to be found in the kneeling figure (1) in a white dress, and, in view of her scale and proximity to the viewer, she can be regarded as the chief centre of interest. Her situation, too, has strength of position, and, beyond any doubt, she forms the principal feature. It is somewhat curious, however, that she should be placed nearer the right-hand side than the left, it being usually considered desirable that there should be more space in front of a figure than behind. The fact that she is kneeling and that her head is bowed affords some reason for the position in question, but that she is placed upon a diagonal between the upper right and bottom left corners is a factor of greater significance. Besides this, the hem of her dress extends very near to the left-hand margin, and, seeing that the space immediately above is occu¬ pied by another figure (2), the placing of the first is justified, and there is no impression of lack of balance. Cohesion and Strength. On the contrary, the com¬ position appears remarkably complete and finished. The figure (2) serves not only as a balancing accent, but very successfully fills what would otherwise be a noticeably vacant space, without any suggestion of impairing the dominance of the figure in chief. Considering the nature of the ceremony, that so com¬ plete a composition has been obtained is something of an achievement, for there can have been no possibility of arranging it, and the choice of the exact moment for the ex¬ posure must have been most accurately judged. A certain quality of picturesqueness arises from the unfamiliarity and quaintness of the dresses, the drapery falling into ex¬ ceptionally pleasing lines, which, it may be mentioned, contrast favour¬ ably with the fashions of to-day, at any rate in this respect. The literary content is no less interesting than the pictorial, and, with the admirable sense of luminosity and light, the theme makes a most attractive picture. It also conveys an intriguing suggestion of a romantic character, and, being entirely free from any of the eccentricities of the modern school and built up on lines that are traditionally sound, its attraction will not be momentary, but will endure the test of time. “ Mentor.” 341