Amateur Photographer & Cinematographer (1937)

December 22nd, 1937 Thi amateur photographer p 6 CINEMATOGRAPHER o ICTURES by Novices SOME CRITICAL COMMENTS on the Beginners’ prints reproduced on the opposite page. EXCEPT for its excessive length of foreground. No. 1 of the prints reproduced on the opposite page — "The Street Artist,” by A. G. West — makes a very good composition and the subject has been well seen and caught at a fortunate moment, but it could be wished that the splash of sunlight fell just a bit lower so that the dark of the figure were silhouetted against it. Dark Against Light. The contrast of dark against light would have enhanced the attraction of the figure enormously. It does not tell at all badly even now, but it is inclined to lose itself against the back¬ ground and really needs the emphasis the contrast would afford. But this is a feature that was settled, once and for all, when the exposure was made. It is easy enough to see it now the print is made, but, short of very extensive retouching, it is impossible to correct matters now. It may be that, either shortly before or after the exposure, the shaft of sunshine did extend to illumine the setting behind the figure, but, without a knowledge of the vicinity, it is impossible to say. The point, however, is one that should have been watched for at the time, and, if it appeared that the patch of setting was likely to get brighter, the exposure might have been deferred. If, on the other hand, it seemed as though it would be earlier when the light was so disposed, arrangements could be made for a visit at the appropriate time on another occasion. Simplicity of Statement. What I feel about it is that the figure needs to be a bit more effectively isolated in order that it may properly serve its purpose as the centre of interest, and that placing it against the light is the only feasible method. Had the figure been caught in a standing position, looking down at his work, the effect would be just as good, and it may have been that he would be impelled to do so sooner or later, in which event the exposure could then have been made and the neces¬ sity for waiting till the lighting altered or making another visit avoided. The composition would retain its simplicity of statement but would gain from the extra concentration arising from the contrast of extremes of tone. Something of the effect can be imagined from No. 4, " The Church in the Woods,” by Guy Dennis, although, in this instance, the centre of attraction is in light and the setting in darkness. The contrast of extremes, however, is still the same, and, despite the reversal, is just as strong. The consequence is that the subject tells with excellent effect. It is as simple in its statement of fact as the other, and there is no doubt about its intention. The sunlit church is the unquestionable centre of interest, and, from the pictorial standpoint, I think there is no doubt but that the sunshine forms a wholly adequate motive. Subject and Motive. Nevertheless, I would be inclined to recommend a trim of about a quarter of an inch from the left-hand side, for the church is rather centrally placed at present, and the slight alteration would correct this disability. In the case of No. 3, " Via Dolorosa,” by H. G. Mather, there is a suggestion of a similar motive of sunshine, but it does not get across quite so well, partly for the reason that the elements in sunshine are not so definitely isolated, and partly because of the competition arising from the bright tone of the sky. If it were just a shade lower than that of the sunlit wall, the sunshine would tell much more effectively, and, were I making a print by one of the control processes, I do not think I should have much difficulty in making the needful adjust¬ ment ; but, with a beginner, I feel it would be inadvisable to do more than suggest that it might be tried by local control during the printing exposure, i.e., by slightly overprinting the sky while the rest of the print is masked. Providing it is carefully done and the mask kept moving during the extra exposure, the expedient is quite easy to manage and has the virtue that it does not show. It would not only improve the subject immensely, but would also bring out the motive of sunlight, so that a series of trials should make a very interesting and educational experiment. Power and Placing. With No. 4 I suggested that the placing should be revised so as to put the church more off the centre, but in the case of No. 1 there was no need to alter the position of the figure after the removal of the excess of foreground, it having sufficient power of placing as it is ; but in No. 5, “ The Temple of Pallas Athene,” by R. J. Hayman, the portico, which by reason of its prominence acts as the centre of interest, is made to occupy a position too near the edge to fulfil that function. It ought to be at least half an inch nearer the centre of the print, when its power of placing would be just about right ; but, of course, the only way in which this could have been managed was by arranging for the line of sight — and the camera — to be directed more to the right. That is now impossible, but, while the subject is one that naturally makes up better as a horizontal, the position could be corrected by trimming threequarters of an inch from the left and turning it into a vertical. The com¬ position would be appreciably im¬ proved, and, in the circumstances, it is the best that can be done. At all events, it enables the dignity of the ruin and the better part of the fine sky to be retained, and, moreover, avoids the scrapping of the print. Tones in Opposition. The texture of the wall is a feature of No. 6, " Cottage Doorway,” by R. N. Rook, but, while the doorway might be expected to tell in the midst of so much light, it does not quite work out. Probably the reason is that there are too many other darks of equal if not greater depth, and the brilliance of the lights is overwhelming. The fact that the doorway is not an isolated feature in a scheme that is otherwise light is a contributing factor of some importance, for, just as the light of the sky reduced the appeal of the sun¬ shine in No. 3, so do the darks of the adjacent shadow, the dark under the eaves, and the depth of tone in the fence pull away from the attraction of the door. “ Mentor.” 706 23