Amateur Photographer & Cinematographer (1933)

The AMATEUR PHOTOGRAPHER a 6 CINEMATOGRAPHER a October 25th, 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. “ YELLOW SANDS,” by G. L. Hawkins. THE lines of the composition in this picture are somewhat out of the ordinary, for while they may be roughly in accordance with the principle of radiation, they are im¬ plied rather than expressed, and the centre of attraction lies in the neigh¬ bourhood of their extremity, instead of, as is more usual, at their source. Lines of Radiation. This is rendered possible by the fact that the source in question lies in the bottom left-hand corner. A position such as this could scarcely be adopted for the centre of interest, for it has no strength of placing, and it would be difficult, if not impossible, for the attention to be held by anything that happened to be there. The emphasis that is imparted, in the ordinary way, by the point from which the lines of radiation emerge cannot therefore apply, and, instead of the eye being attracted to this point, it is directed to their opposite end. As, however, they diverge as they proceed from their centre, it might be expected that the interest would be spread over too wide an area at their extremes, and, usually, this is what would happen. In this instance, however, this effect is countered by the marked darkening to¬ wards the two top corners, which expedient throws the attraction back towards the centre, and, in view of the fact that the boat (1) occurs in the near vicinity of one of the points of intersection formed by a lateral and vertical division of thirds, the boat in question is made to serve as the chief item and centre of interest. Its significance is stressed by its strength of tone, and by the fact that the brightest light of any size comes just up against it, the concentration of interest accruing from the conjunction of the two tones in contrast being extraordinarily powerful. Formation by Suggestion. It will be seen that the lines of the waves and those which they make on the surface of the sand form seg¬ ments of a circular shape stretching from side to base and from side to side of the picture. The fact that they are semi-circular invites the suggestion that they are based on radii emerging from the same^centre. There is just a hint of the existence of such lines in the marks on the shore, and a more concrete continuation of them in the mooring lines of the boats, but it is more a sense of direction implied by the line in which the waves would advance that conveys the impression rather than any that actually are present. The formation is suggested rather than stated, but, all the same, the effect persists, and, for the pur¬ poses of arrangement, acts in a similar sort of way. The closing-in effect of the darkened portions at the top corners, taken in conjunction with the emphasis allotted to the vessel (1), limits the stress of the radiating lines more particularly to that spot. In consequence, its importance as the chief item is reiterated, and the remaining vessels act as subsidiary and supporting accents, the whole achieving unity through the dominance of (1) and the connecting up of the radiating lines by the various circular segments, as well as by the enclosure suggested by the darkening of the upper portion. Though unusual, the com¬ position makes up very well, and enables the pictorial motive — the glow of sun¬ shine upon the sands — to be displayed effectively and well. It is a most attractive piece of work, and at the recent exhibition of the London Salon of Photography re¬ ceived very favourable notice, not only on account of its marked artistic appeal, but also as a good example of the pos¬ sibilities of bromoil transfer. Process and Texture. It is a print of large size — somewhere about 18 x 15 in. — and, in addition to the qualities attaching to the process, its scale enabled the beauty of the effect to be extraordinarily well conveyed . The somewhat grainy tex¬ ture is useful in simulating the character of the sand, and, in a measure, contributes to a most pleasing breadth of effect, but it could be wished, perhaps, that the undertint employed to warm up the tone of the picture were not quite so yellow, a better effect being obtained with a slight admixture of red. Raw sienna and light red, suitably diluted, give a better colour for a base than the former alone, but the question is largely one of personal taste. At all events, the work, otherwise, is eminently pleasing and sound. It displays originality, also, in the adoption of an unusually high view¬ point as well as in the choice of an uncommon form of arrangement, and, altogether, expresses the personality and individual point of view of its author. " Mentor.” 385 26