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CINEMATOGRAPHIC ANNUAL
One often finds an artist who will not admit that he is guided by any law of scientific composition — who claims that he is a law unto himself. Frequently such an artist will make a success, but if one studies his work, it will be found that either he is subconsciously using the fixed laws of composition, or else deliberately copying the methods of those who do use the rules. Such a man will be a success for a time on account of his inherent talent, but sooner or later he must fall backward in the march of progress because of his lack of true knowledge and early training.
All nature was made to select compositions from, and there can be no arbitrary "Thou shalts" or "Thou shalt nots" in the treatment
Fig 4 Time and Light — by Henry Goode. Attention directed to the figure.
of them as long as the artist conforms to the natural laws of composition and vision, and systematizes his work so that no outside influence can interfere with his freedom of expression. The conclusion I have reached after a long study of composition and its possibilities as related to cinematography is best expressed by the phrase that "Art is not What, but How." It matters little what the subject to be photographed may be, as long as that subject is arranged properly. Any student of photographic art has, I am sure, either attended some of the numerous salons held throughout the world, or studied the reproductions of salon prints in the many excellent photographic magazines published. In them he will undoubtedly have noticed how merely through mastery of the technique of artistic photography and, especially, of pictorial arrangement, or composition, even the most commonplace, prosaic, or even repulsive subjects have been made into beautiful pictures. Not the subject, but