Amateur Photographer & Cinematographer (1933)

November 8th, 1933 The AMATEUR PHOTOGRAPHER o 6 CINEMATOGRAPHER o PICTURES oftkeWEEK Some Critical Comments on the Beginners5 prints reproduced on the opposite page. THE differences that accrue from an alteration of viewpoint level are apparent from a comparison of Nos. 1 and 2 of the prints repro¬ duced on the opposite page — " Study of a Girl,” by J. W. Bankes, and " Patience,” by C. H. S. Tupholme. In No. 1, the camera is below the level of the subject’s eyes, and in No. 2 it is above. Viewpoint in Portraiture. Pose and other things being equal, the effect of the lower viewpoint is to exaggerate the size of the chin, and reduce the significance of the forehead ; while the higher emphasises the fore¬ head at the expense of the lower portion of the face. With one part of the features not quite truly rendered, or, perhaps, not rendered in the way that they are usually seen, there is bound to be some little loss of likeness. The normal impression of anyone’s features is obtained when the eyes of both viewer and beholder are at the same level, and it follows that, when a portrait is being taken, the lens should be at the same height, or a departure from a truthful likeness must become evident. Sometimes, of course, it may be that such a departure from the strict truth flatters the appearance of the subject, and, discreetly employed, the viewpoint may be lowered to correct a lack of strength in the chin, or raised to increase the apparent size of the forehead ; or, alternatively, the aggres¬ siveness of a too prominent chin may be softened by the higher viewpoint, and a too high development of the upper portion of the skull may be countered by the choice of the lower. 'Truth and Flattery. Any of these expedients, it is true, partake of the nature of flattery, and need a not inconsiderable degree of experience before they can be used to advantage. It is unlikely that the thought of the consequent effect ever entered the heads of the makers of these two prints, nor is it likely that they would be aware of it ; so that the idea of deliberately introducing the low and high viewpoints adopted in each case must definitely be ascribed to inadvertence. Whether either of the sitters is actually flattered or not is impossible, in the absence of anv knowledge of them, to say. It is, nevertheless, probable that the truth of the likeness is impaired : but, considered from the purely artistic point of view, in which the question of likeness does not arise, it must be admitted that No. 1, at least, does possess a considerable measure of attraction. The effect of sunshine and the contre-jour lighting is very charming, and suits the winsomeness of the little model to perfection. The low viewpoint, too, lends a suggestion of audacity to her personality, which en¬ hances the appeal of the picture, and, while it could be wished that the setting were a little less spotty and more even, the whole thing makes up very well indeed. Assertive Elements. In No. 2, although the cards are an essential element in the theme, the r make rather an obtrusive note with the rest of the setting so dark, and their ill effect, again, is exaggerated by the fact that the nearest rows are out of focus. Possibly, a little local extra printing might do something towards toning down their present assertiveness, and then the features would have a better chance of telling as they should. * Elements so assertive draw the attention away from the head, and, as that, obviously, is intended to be the centre of attraction, their influence is decidedly adverse. Reference to No. 4, " Portrait,” by G. H. Smith, discloses the advantage to be derived from a quiet setting, for here there is nothing to pull the attention away from the head. This is good clean work, but it so closely resembles the conventional portrait of the unin¬ spired professional that much of the spontaneity that it should exhibit as the work of an amateur is lost. It may provide a good likeness and be perfectly acceptable to the subject, but there is no doubt whatever that if anyone wishes to achieve a success in portraiture in these days, he must create a method of presentment for himself, and take no one else’s work as a guide. Individuality and per¬ sonality, which are the things that count, can only be achieved by working things out, in every respect, for one¬ self. The Quality of Spontaneity. And one of the things which go far in introducing a suggestion of per¬ sonality is spontaneity. It is ap¬ parent in Nos. 1 and 2, and despite the greater technical ability displayed in No. 4, gives them a charm that the latter fails to achieve. It is evident, too, in Nos. 3 and 7, Lumberjack,” by Hector Costa, and “ Bernard,” by Miss V. Cummins, but, in each case, the effect is largely negatived by the over-assertiveness of the setting. It is not so bad in No. 3, but surely the palisading to the right of the picture could have been avoided, and it should have been found possible to place the figure in the sun without including any of its effect upon the surroundings. In No. 7, the vista through the window and its light tone, the bowl of flowers, and the teddy-bear, are things which could easily have been omitted, and should have been. All they do is to incorporate notes of complication which draw away the attention from the face of the child, and, though the expression is delight¬ ful and charmingly rendered, it is prevented from attaining a full measure of appeal because of the distraction which these extraneous elements cause. Figure and Setting. Imagine the same expression shown against a setting so restful and quiet as that of No. 4, and see how much more effective it would become. Even No. 5, “ Mother and Child,” by S. J. Vella, with its appeal to sentimentality, scores as far as the setting is concerned ; and, while that of No. 6, “ Discours,” by P. Muller, is rather more emphatic than it need be, it is scarcely as much under the control of the operator as it might have been in any of the cases previously discussed. The well-arranged group, if it were taken at all, had to be taken just as it occurred, and, considering the excellent way in which it has been caught, any deficiencies in the setting can be condoned. " Mentor.” 433 17