The international photographer (Jan-Dec 1934)

August, 1934 Th INTERNATIONAL PHOTOGRAPHER Twenty-one cause it is a pictorial medium it naturally embodies all the principles of pictorial composition, and because it must move, movement must be part of the composition. It is just as important that moving objects in the picture make a pleasing composition with the rest of the picture as it is to have the rest of the picture well composed. The moving object is generally the center of interest in the picture because of the natural instinct of the eye to be attracted to a movement. No matter how small the moving object maybe on the screen the eye will single it out and follow it, even though there may be larger and more interesting stationary objects in the picture. Any movement on the part of the sheep in the scene from "Serenade" would immediately attract attention from the shepherd, even though he is closer, larger, and more interesting. Unimportant movements should therefore be avoided, while important ones should be enhanced by compositions which will aid the eye to follow them. The line that moving objects follow should be governed by the same rule of composition that governs stationary lines. Movements, like lines, create psychological effects depending on their direction and type. Horizontal movements are inclined to be more calm and quiet than diagonal movements, which in themselves are dynamic and suggest power, energy, and action. Commercial artists are aware of this fact when thev show speeding automobiles or trains in a diagonal position in advertisements. A diagonally ascending or descending airplane seems to possess much more power than one flying on a horizontal plane. Violent actions, such as in a battle, are best shown with diagonal compositions. Ascending vertical movements, as fireworks, balloons, smoke, etc., express exhaltation, freedom, aspiration, and courage, while descending motions express heaviness, danger, and crushing power, as a falling airplane, an avalance, or any falling body. Curved movements are the most graceful, while zig-zag motion, like a lightning Hash, suggests violence, treachery, unrest, and uncertainty. Pendulum motion produces a monotonous effect, like the pacing of a caged animal, and circular motion is cheerful, and suggestive of mechanical energy. It is the duty of the cameraman to choose his angle so that the line of movement in the scene photographed accentuates the feeling the movement is to create. Too many amateurs disregard this, with the result that the movements in their pictures lack interest and contradict each other. Each movement should be interesting in itself, yet must contribute to the whole effect of the picture. The panning and moving camera also plays an important part in composition, but it requires considerable skill to maintain composition while the camera is moving. Jos eph von Sternberg's pictures are excellent examples of composition (for he is essentially a pictorial director) maintained throughout a complicated camera movement, as in some of the crane and trucking shots of "The Scarlet Empress." Charles Lang and Lee Garmes, both of whom received awards for outstanding cinematography, also make excellent use of the moving camera, as witness the former's "Farewell to Arms," and the latter's "Shanghai Express" and "Zoo in Budapest," as well as more recent pictures by the same men. Most of the outstanding professional pictures contain examples of the effective use of moving and panning camera, and the amateur can learn more from studying them than he could learn from any explanation of them. As I stated in a previous article, the professional picture should be the textbook for the amateur who wishes to make more than just common snapshots. I do not advocate the use of panning or moving camera to the amateur unless it is thoroughly understood and used with discretion and skill. Camera movement can easily be overdone. Most amateurs when photographing a landscape which has little or no movement try to create movement by panning the camera. They think, perhaps, that this will make the scene more interesting. Motion pictures should move, yes, but not without reason. Like everything else, every movement, whether it be of the material or of the camera, should have a purpose in the picture. If panning is continued throughout several scenes without any purpose other than to create movement or to take in as much territory as possible it becomes so monotonous and irritating (especially when, as is often the case, the panning is too fast and jerky) that it makes the spectator want to scream. To avoid monotony of camera movement any angle successive shots should be varied as much as is reasonable. The chief disadvantage of panning, however, is that it usually kills all possibilities of good composition. Landscapes are much better when taken with a stationary camera, for then the composition can be carefully chosen, while it is difficult to maintain good composition throughout a panning shot. Furthermore, panning does not permit the eye to rest long enough on one spot to leave a sufficient impression, and the whole scene is sometimes lost. Panning shots should be used only to follow some action or to show the relation of one object or view to another, or at times when the whole scene desired cannot be obtained in a stationary shot. A series of stationary scenes which are properly composed will give a much more pleasing effect than a panning scene, and, when properly cut, will suggest just as much movement, as, for example, in the quick rhythmical cutting of stationary scenes in Rus EXTENDED MIXING PANEL With Intercommunicating Telephone System and Volume Indicator /°'"ArtReeves" PORTABLE SOUND EQUIPMENT DEPENDABLE LABORATORY AND SOUND EQUIPMENT Francais Deutsch Espanol Svenska }-[oiryvvood Motion PicTure/^qljipmemT(o. |Td. 64 5 NORTH MARTEL AVE CABLEADDPESS ARTREEVES Phone: WYoming 4501 HOLLYWOOD, CALIFORNIA. U'SA Please mention The International Photographer when corresponding with advertisers.