Amateur Photographer & Cinematographer (1935)

July 17th, 1935 The AMATEUR PHOTOGRAPHER o 6 CINEMATOGRAPHER a icture Points for Beginners by RICARDO Photographing from Heights. Disappointment in photographs of views taken from great heights can generally be attributed to one or two facts. The impression of height is either not con¬ veyed in the print, or else the view has been dwarfed and is not so clear as it was to the eye. The last two failings can, in the main, be remedied by using a longfocus lens and a film with a suitable filter to penetrate what haze is present. This will also give a little more contrast in the usually flat tones of the landscape. Pictorially, however, much can be done, even when using the usual lens and film, by including some foreground and sometimes a figure. If the scene is similar to the sketches shown a horizontal or " landscape ” picture is better, because in the upright view the subject is divided horizon¬ tally too many times, with a consequent loss of interest. Choosing the horizontal view and stepping back to include a little fore¬ ground makes a more satis¬ fying picture, and immedi¬ ately gives the impression of great height. Maintaining Interest in the Picture. THE interest in a picture depends largely on the " lines ” of the subject matter. If the interest is to be held, the essential of all pictorial photographs, the lines should guide the eye into the picture gradually up to the main point of in¬ terest. In the sketch on the right, the bridge, which dominates the picture, has a wedge shape and takes the eye immediately to the left and right out of the picture. Even the clouds, which also possess " lines,” point in the same direction, and do not help in maintaining interest. Clearly, a stopping point is indicated which will return the eye into the picture and give it some pictorial interest. This is where a figure can be very helpful. Make sure that he or she is looking towards or into, the picture, and not in a too prominent position Choosing the best Viewpoint. IT is a good thing to re¬ member in pictorial photo¬ graphy that in almost every picture the best viewpoint is only to be found by searching. Very seldom is the first view seen the best. In the sketches shown the viewpoint has been altered, not only by moving to one side, but by lowering the camera as well. The main criticism against the top sketch is that by choosing a point in the centre of the path the eye is led immediately straight towards the end of the path, and past the trees. These appear like so many telegraph poles, monotonously regular on each side, thereby missing the real motif of the picture, the trees themselves. By moving to one side and placing the end of the path on one of the " thirds ” we get variety into the tree-trunks, and, by lowering the camera, we cut out some of the uninteresting ground. At the same time, by raising the lens panel, or by slightly tilting the camera, we can add to the height and dignity of the trees. This is shown in the second sketch. This point applies to almost every picture where there is regularity on either side, in¬ teriors of churches and cloisters, as well as avenues and streets. In the sketches shown, it is immaterial whether the view¬ point chosen was either to the left or right, as both sides of the path are the same. But in a picture, say, of an interior of a church, looking down the nave, the lighting would prob¬ ably decide the viewpoint, while in an interior of cloisters the viewpoint would be nearer the less interesting side. otherwise the interest will be divided between the figure and bridge. Notice, in the left sketch, how the clouds, which point towards the right, also help to counteract or " oppose ” the lines of the bridge. The direction of the sun can do much towards the modelling of the subject. In the sketch on the right the sun is over the right shoulder, throwing the whole bridge into shadow, and making a light foreground. In the left-hand picture the sun is to the left front, giving a more pleasing effect and e, dark foreground. 66 24