THE

FINE

ART

OF

"

PHOTOGRAPHY

BY

PAUL
AUTHOR
OF

L.

ANDERSON,
ITS PRINCIPLES

E.E.
AND PRACTICE

"PICTORIAL

PHOTOGRAPHY:

WITH

FRONTISPIECE
OF

IN

COLOR,
AND
17

REPRODUCTIONS
DIAGRAMS

PIIOTOGRAPIIS,

PHILADELPHIA J. B.

AND

LONDON

LIPPINCOTT
1919

COMPANY

FOREWORD
IN
and
"

Pictorial
"

Photography,
the author should
camera

Its

Principles
to

Practice
a

endeavored
furnish

duce pro-

textbook
to

which

technical who
sire de-

information
to

those
artistic the and of

workers

express
to

impulses, thus
medium become for

enabling
any ticular par-

them

choose
purpose,

best
to

skilled work earlier

in

its the

use

but

the

aim
to

the

present
the

is, on
book
of

other

hand,
out
as

supplement
the
can

by
art

pointing
insofar and
to

underlying
be the

principles
to

they

applied
student in his
must
as

photography,
the

encourage these

of
own

subject

to

apply

principles
this book former is
one

work.
in
a ure meas-

Necessarily
from

differ

the

regards plan,

since
be
a

technique,
matter

which

entirely scientific, can

an

of

rule, whereas
of

artistic and

impulse,
with
mula. for-

being

purely

the

mind be is
it is

dealing
to
a

intangible things,

cannot

reduced

Photography graphic
that
arts

unique

among

the

in

that

absolutely imperative
and artistic

scientific

knowledge
7

feeling

FOREWORD

go

hand-in-hand

to

the

production

of

fine may

result; and, though scientific knowledge

be

acquiredby
of the

rote, artistic

feelingmust
above

result the

from
use

observation, from

meditation, from

logicalfaculties,and
of the

all from been

the the

exercise author's reached

imagination.
to

It has

endeavor

present the
years may

sions, conclu-

through
that

many

of

study,in
be lated stimu-

such

manner

the

reader

apply his mental powers to the task of seeing and thinkingfor himself, since only thus
to
can

lastingand
and

valuable thus
can

works

of art

be produced,

only

photography
the fine arts.
a

take

its rightful loftyplace among There

is in this country
in favor
of what may

widespread predilection
be termed
tabloid

or

predigested information,
an

this

predilection
one

arising from
who has

unfortunate
a

belief that

memorized

large number
The

of facts is
cannot too

ipso facto

educated.

author

stronglyimpress upon
this belief is
comes

the reader

the fact that

true

utterlyerroneous;
observation
observed

education

only
of
rules

from the

and

logical correlation
There

phenomena.

are

no

in art.
8

FOREWORD
The R. author's for thanks due

are

to

Mr.
use

Henry
of the

Poore,

permission to by
him
"

make

conclusions
valuable the

set forth

in his

exceedingly
and Mr.
"

work,

Pictorial
of

Composition
Pictures for the
; to

Critical
H.

Judgment
Wentworth
marine and
to

Bertrand discussion

admirable

of

Chapter IX;
have been
so

photography given in the photographers who

the

kindly
to

furnished

prints which
and
to

have

used the

illustrate but

the

text

lish embel-

book,

especiallyto Landscape"
author with has

Mr. been

Eilers,
used been

whose

"Summer

without
unable In of
to

permission, the
get in touch
of the conditions in order

having

tliis artist.

view

existingat
forestall
or

the time
any sible pos-

writing, and
criticism

to

reviewers by patriotic
to state

readers,
are

it

seems

well

that, although there

names

several the

German-sounding
artists

included

in

list of for

who

have
none

furnished of The these

tions illustra-

this

work,

raphers photogis not of

demning con-

is in fact German.

writer idea

altogether in sympathy
nation because that

with

the

indiscriminately all members

nation
9

of

has

shown

itself,

FOREWORD

collectively, higher
any

incapable
which than animate he
is

of

appreciating
the civilized
condemn

the

ideals

ples, peo-

more

prepared
of

to

family

because criminal
written

some

member

that remains

family
that

has this

proved
book and that
from

but

the

fact

is

for

American

and

English
of

readers
is

that it the
be

the

German be of difficult German

attitude find

mind

such

would

to

tions illustra-

work of

photographers
value
to

which

would whom
of

interest

or

the

ers readThe

to

the German

author

wishes
whose

to

appeal. pictures
American

bearers here

names

are

reproduced English
by
birth

are

actually
and

either

or

sympathy.
P. L. A.

EAST

ORANGE,,

N.

J.,

1919.

CONTENTS

CHAPTER

PAGE

I.

INTRODUCTORY

15

II.

COMPOSITION

32

III.

VALUES

71

IV.

SUGGESTION

AND

MYSTERY

90

V.

LANDSCAPE

WORK

101

VI.

WINTER

WORK

127

VII.

LANDSCAPE

WITH

FIGURES;

FIGURES

IN

LANDSCAPE;

GENRE;

ILLUSTRATION
.

143
.

VIII.

ARCHITECTURAL

WORK

177

IX.

MARINE

WORK

195

X.

MOTION-PICTURE

WORK

211

XI.

PORTRAITURE

232

XII.

THE

PHILOSOPHY

OF

THE

HAND

CAMERA
. .

292

XIII.

CONCLUSION
.

304
. .

ILLUSTRATIONS
PAGE

PORTRAIT Paul PORTRAIT Paul ILLUSTRATION

OF

ELIZABETH Anderson. MY MOTHER

HAMMACHER

(in color) Frontispiece

18

L.
OF

L.

Anderson.
FOR
A

STORY

30

Lejaren
MIST
IN THE

Hiller. VALLEY
42

Anonymous.
A HILLSIDE W. THE E. PASTURE
56

Macnaughtan.
OF

WOODS H. Y.

COLONOS

68

Summons. LANDSCAPE F. Eilers.

92 80

SUMMER Bern

EVENING J. A COUNTRY S.

BREEZES Fowler. ROAD

106

Anonymous.
HASSIM W. FINIS Annie BLIND MAN'S W. SEEKS G. Fitz.
130
THE

GENIE

OF

THE

ROCKS

118

Brigman.
BUFF H. White.
13

142

Clarence

ILLUSTRATIONS

THE

BAT Gertrude Kasebier.

156

THE

PRELUDE Laura

168

Gilpin.
180

MEISSEN Karl
THE

Struss.
192

FLATIRON Paul L. Anderson.

EASTERLY Bertrand A MOUNTAIN

WEATHER H. Wentworth.

206

MEADOW

218

Anonymous.
SYCAMORES
230

Anonymous.
PORTRAIT Paul THE BRIDE Gertrude PORTRAIT Catherine PRISCILLA Paul PORTRAIT Paul LEYLET H.
EL or

DR. Anderson.

EDWARD

A.

REILEY

242

L.

256

Kasebier.
270

Collier.
282

L.
OF

Anderson. MRS. Anderson. WAHSHAH

306

GEORGE

B.

HOLLISTER

294

L.

Y.

Summons.

THE

FINE

ART

OF

PHOTOGRAPHY

INTRODUCTORY

THERE

are
"

almost
art
"

as

many

definitions
are

of
on

the
the any

phrase

fine
one

as

there

writers

subject,
beautiful
fine

author

even

maintaining
by
man

that
a

object produced
a

is

work

of

art,

definition rugs,

which

would

obviously

include

Oriental
and the

automobiles,
the

grand
definition
on

pianos
which

repeating
present
in
:

rifles; but

author
the

prefers,

and

which

the
is
as

discussion
follows

following
art
one

pages

is based, of convey
pression ex-

p\.fine

is any person
a

medium
to
or

whicnpermits
another
an

to

abstract
or

idea

of

lofty

ennobling

character,

to

arouse

in

another

lofty

tion?] emo-

It will
music,

be

seen

that

this includes

dancing,
and
it

prose various

writing, poetry, graphic

and

architecture arts,
an

the is

glyptic
to

though
accurate

sometimes

impossible
15

draw

ttTOF

PHOTOGRAPHY and ship. craftsmanDavid

dividing line
For

between

fine

art

example, Michelangelo's
Gattamelata
the
are

and

Donatello's
fine

ably unquestionof
an

art, and
as a

typical figure just where

Indian
may

Indian, used
but it is not

tobacconist's
say

sign, is

not;

to possible

the two
carry
to
a

expressions merge.

The

glimmering
extent

of

an

abstract
some

idea, and
of

that of

may

possess

the

elements

fine art.

On

the other hand, the most

may

exquisite
excite
our

if ignobly used, craftsmanship,

interest

and

admiration, but
It is not
meant

can

never

prove

stimulating.
must

to

imply
may

that be

art
as

necessarilybe didactic;
moral
on

there

much

stimulus
as

in

simple pictureof
elaborate

light sun-

water

in the most
not
are
"

sermon,

but
are

the writer

does
or

feel that

pictureswhich
indifferent
can

degrading
The
writer
as

merely

justlyclaim

the title, fine art." would

to

not, however,

be

stood under-

adhering
that
a

the idea, sometimes

individual
to cannot

vanced, adbe

dissolute

great artist,and

that in order the worker

must

accomplish
be
of
a

fine

things in
turn

art

ligious re-

of mind.
16

History

shows

clearly

INTRODUCTORY
f

that

libertine may

produce
of the if such

works

which

fulfil

all the
it may

requirements
be

highest art, though

a

doubted

one

can

continue

the
To

production of great
be
a

works
must

for

long period.
must

great artist

one

be in full possession his

senses

of all his
at their

faculties,and

be

highestpitch of development
whereas
a

and
to

tivity, recep-

dissolute lower

life tends

blunt

the

senses so
a

and

to

the

of the efficiency
a

worker,
continue time years. and

it

seems

unlikelythat
debauchery
for
a

man

could the
same

life of

and

at

produce
has

fine works

long period
to

of

This, however, is a purely physical ter, mat-

nothing
power for of
many

whatever

do

with

the

individual's There has

conceiving loftyideas.
years

been

current

popular
be
more

belief that the artist must

or

necessarily

less neurotic

and

morally loose, this

impression arisingfrom the fact that artists, working, as they do, largely under emotional
tension, have

sought
other

relief and

relaxation

in
cent re-

drinking
that
sort
"

and

forms

of vice.
come

Within

years,

however, artists have

"

to realize
a

equal relaxation
may

and

that

of

beneficial

be

obtained

through physicalexer17

9,

FINE

ART
that

OF

PHOTOGRAPHY
of recreation of

else,and

this form

not

only
of

accomplishes the letting down

strain, but
also stores
up energy

the
to

nervous

permit

continuing work
be the case, for
a so

longer

than

would

otherwise

that the author in the

confidentlylooks
estimate
a

change
and

popular

of the
more

tist, ar-

believes

that within

few and

years

musicians, sculptors, painters,

in the fine arts
an

other

ers workas

will

come

to be

regarded

healthy and exceptionally

At

athletic class.
among

present there

is

an

inclination

artists of all kinds, but

to

especially among
any its tone in other
"

tograph phois

consider

picture which

well of is
an

arranged,pleasing in agreeabletexture
and
"

and qualities,

words, which

gratifying esthetically
but satisfactory, this. Such with

as

plete comartistically

the writer

cannot
chine ma-

agree

picturesare
a

simply
may

work, and, though beautiful, and

it remains

machine
a

be very
as

the

product of
a

machine

well,
less un-

always

machine
a

product,

and

informed

by genius
but

whether picture,
cannot

done

by
A

hand

or

by photography,
must

rise to the

level of

art

be

called that

craftsmanship.
in which

straightphotograph,
18

is, one

PORTRAIT BY From PAUL

a

OF

MY

MOTHER

L.

ANDERSON Print

Gum-Platinum

FINE
into
account

ART

OF

PHOTOGRAPHY

the color, the instead

of

size,the fact that it

a

has
a

depth

being
the

on representation

flat

plane, the motion,

more

lightin
into

which

it is

bathed, and,
forces

than entered
are

all

else, the
its

cosmic he

which

have

making,

will

see

that there

few

things which,

ering considof stimulating

all these elements, lack the power

one

emotion

or

another
are

in the spectator.

These and

factors,however,
their loss must
so

lost in the up
to

picture,
other

be

made

in

some

manner,

the artist resorts

a

composition,to
cations to modifi-

the selection of
of the

and specific lighting,

to

values

accomplish,by artifice,
to
secure

what The be

it is

beyond

his power
aware

directly.
in

writer is well

that these

opinionswill
"

hotly contested
was
a

and time such

widely disapproved
when he himself
"

fact, there
have
seen

would he the has

art

contested
many

statements

'but

photographs, has
believes that
not

studied he
be

and extensively,

is within understood
may

the
as

truth, though he would

denying
very

that

straightphotograph

be

beautiful.
It follows

that it is the writer's

must
20

belief that
as

straightphotography

be

classed

the

INTRODUCTORY
lowest of the
to

fine arts, if, indeed, it

can

claim

admission

their

company

at

all.

nately, Fortu-

however, the photographer is not limited

to records
as

of

fact, but,

as

will be

seen

later,is
as

free

to

express

his artistic

impulses
or

the

worker

in

etching,lithography
medium. that and the worker
"

any

other

monochromatic

Assuming
of his may

can

modify
to

at

will the outlines

"

values then
of

the especially

ter lat-

it subject,

remains

consider
among

what

be the status the writer

photography
that

the arts, and found

to be

believes
every

it will be

high.

Since
an

fine art must

or

be

capable of conveying
emotion, it follows
intellectual

idea

an stimulating

that

it must the
term

possess
"

some
"

quality, for
It
is here

emotion

implies this.
Cubists and

that

the

Futurists,

other modern
can no

carding for, dispaintersfail,

form, they

longer

claim

any

tellect in-

quality for merely

then,
sensuous.

their

art, which
of

becomes

Every
both

medium

expression,
and
ous sensu-

must

possess

intellectual may be

qualities, though
and music almost

these

combined

in

widely varying proportions. Thus,

are

dancing
of
any

entirely devoid
21

FINE

ART

OF

PHOTOGRAPHY
almost from

intellectual
as

appeal, being
be

purely
the

suous, sen-

might
the which

expected
and
most

fact that

they

are

oldest
are

primitive of
even

the the

arts, races

totally lacking in
which
men

rudimentary graphic impulses

and paleolithic neolithic and

terized charac-

having
as

nevertheless
as

dances primitive

songs

well

primitivemusical depend mainly

is

ever, instruments, which, howon a

sense

of

rhythm.
but

Next in its

in the

ascending scale

comes

poetry, which
side until

elementary form

sensuous chiefly

ally graduwe

develops the
modern

intellectual
as

find often
to

poetry,
not

practised to-day,
from any

nearly if
senses.

quite free
next

appeal

the

The
may

step gives prose

the any

writing,
and
the

which
sensuous

combine in almost

intellectual

degree, though always

to

remaining sensuously inferior Painting

prose

ancient
on a

poetry.
par

and

sculpture are
less of

about

with

writing,though sculpture,lacking color,

the
sensuous

possibly has
lack

quality than
doubtful, the
The
chrome monoare

painting,though being made

arts,
more

this is somewhat
up in other ways.

depending entirelyon
than

form,

intellectual

painting, and
22

architec-

INTRODUCTORY
ture

is

probably

the

highestdevelopment
this
case

of all,

for the

expression in
"

is

chromatic largelymono-

or

at

all events

concerns

itself less almost

a

with

color than

does

painting
"

depends
a

altogether on
value rather of

form, and

is

on

large, often
its
of

gigantic, scale.
a

Since, then, the

is based
on on

intellectual
use

fine art

form

than

color, and

the

of possibility

voluntary
appearance,

modification it follows

by
that

the artist of natural

photography photographs
points of
arts.

is in-,
" -

ferior to architecture
the

in two that

particulars only
have
two

scale, and
two

the

fact

but

dimensions, these
common

ority inferiThis

being
conclusion worker
at

to
on

all the

graphic
form

is based

assumption

that the color

is

to modify privileged

and

will, and
on

photographers who are straightphotography will refuse

desire to
emotional

those

sistent into

admit
"

this,but those who

to

produce pictures
response
are
"

call forth whether

an

will not

care

their methods look

called
to

legitimate or
result,and
that
prove the

not; they will

only

the

writer, as has been

the
a camera

said, believes

in such
its

hands

will

eventually
the medi-

right to

high place among

23

FINE

ART

OF

PHOTOGRAPHY

urns

of

expression, higher,in fact,than

idea

we

now

have

any

of, or

can

foresee.
not
mean

The that

author, however, does

is

to

imply

photography
the

and necessarily
scale
so

inevitably painting,
his

higher in
for the

intellectual if he

than

painter can,
monochrome

desires,reduce

paletteto
to
use

and
camera

give
of

his entire
can

tention at-

form,

or

the

worker
color

make

of the

various
on

processes other

raphy, photogmay

while,
so

the be

hand, form

be

treated

as

to

almost

altogether sensuous
refers

in its

appeal.

The

discussion

simply
forms

to

the
art

generaltendencies expressionin
emotions include
can

of the different

of

normal

circumstances. definite limit to for

It is the

impossibleto place any practicallyif expressed by

we
was

expressibleby photography,
not

they
that

absolutely all
that such
and

be

any

graphic medium,
say

and, further, if
such
camera
an

should

emotion
someone

beyond

the range

of the forward

would

shortly come
was

with
be

print doing just what

The writer

declared
a

to

impossible.
years

remembers of the

story

told him track

ago

by

the trainer that

college
the

team,

to the

effect
24

shortly after

INTRODUCTORY
record
to
ten

for

the

hundred-yard
some

dash

was

lowered strated, demonof inertia,

power, horseto
run

seconds

mathematician

by
wind
that

complicated calculation
and it was

resistance

possibledeliveryof
anyone

impossiblefor
ten

the distance

in less than
was

seconds.
to nine
not

Some
and

time four-

after, the record

fifths. This

lowered
or

story may

may the

be true, but

at all events to

it illustrates

tendency
will content

of

men

accomplish
For this

the

impossible.
the writer self him-

reason

with
power of

the

statement
to

that

it is within and

the

photography
emotions
as

express

late to stimu-

such
anger,
to

joy, calm,
like. Terror

peace,

hope,
it

horror, and

the

is difficult

stimulate
be

though, graphically,
reverence

of course,
is
;

may

represented,and
the

probably

beyond
a

capacity of
space and

the

camera

it demands
can

larger picture
of

than

the

camera

readily afford,
power any

is, in the main, beyond the

art.

graphic
is
a

It must

be

stood underbetween

that the

there

great difference
emotion and

expression of
of the
same

any

the stimulation
means

emotion.

The that

former

simply

that

it is evident
25

the actors

in the

FINE

ART

OF

PHOTOGRAPHY
in

picture feel
much
to
arouse

the

emotion
cause

question, and
seen

it is it is

easier to the
same

this to be

than

feelingin
same as

the

the 'Spectator; it is

difference
a

is the of
no

in

where writing,
say

matter
so

to difficulty

that
to

person

did

and
a

so,

but

is far from the

easy actor

give

the

reader the
art at
a

mental
act.

picture of reading
or

ing performthat

It is in the if
on

latter
a

function
or

and lies,

story

looking

picturethe

reader

the observer

self finds him-

unconsciously and place of

the he may work
one
course

involuntarily taking the

and

of the actors of the

sure

mentally
own

ing followperson,

action

in his

be

that

he is in the presence

of

of art.
from

It follows
a

this that the

a

appreciationof
mental level There with of

work

of art

demands before whom

certain it is

in the person
are

placed.
follow

many
most

individuals
intense

who

would the

the

interest

adventures

Buffalo
from
"

Bill,but would
the
"

get nothing of stimulus

Macbeth could
not
"

fact when
"

that the

say

Amen
us

sleepy groom

cried
was

God
once,

bless

And

though the
26

writer

when

travelingby rail,carried past his

station

FINE
One

ART

OF

PHOTOGRAPHY

cannot

set

up

an

arbitrary standard
work
must
to
measure

of

criticism and
up
to

say

that every
must

it;the work
of the effect
on

be

adapted

the
any

tality men-

observer

if it is to have what
one one man

ficial bene-

him, and

admires

will be

meaningless to

of less
to another

development
of still finer
to

and

cultivation,or banal
that what
"

so perceptions,

appeared
the

the critic
"

in

question as
in

mawkishly

sentimental

might

easily prove
of
one a

stimulatingto
lower

higher emotions high

whose

stage of racial development.

our

It is well but
are

to make
we

standards condemn
our

as

as

sible, pos-

must

not

one

ideals

perforce lower
a

than

own,

provided only
to the

he makes

sincere effort to live up

is

est high-

conception he
art,
as

capableof appreciating.In
is
to
a

in

morality and ethics,there

in

marked

tendency
others before

the
own

average

person

by

his

standards. another
we

This
must

judge all is not just;

fully only

judging
and

realize

the motives thus To

can sum

ideals behind

his acts, for

genuine and equitablecriticism result. conclusion is up, then, the writer's

"

that
of
an

straight photography
uncontrolled

that is,the
a

making

print from
28

negative which

INTRODUCTORY
been
as

has

not

modified

by

hand

"

can

but

be

garded re-

craftsmanship,or
be added

at

best
are

virtuosity,

but

it may

that there

few

raphers photogadhere confusion

users as

calling themselves
to this
seems

artists who curious of

camera

technique,and
to

the most

exist

in the minds

to what

is the

legitimateand
writer
on

what
one

is not.
man

For who

ample, ex-

knows
the

mently vehe-

insists

impropriety
does
not

of

using

pencil on
sun

the

negative,but
the there

hesitate

to

down

portions of

print while
are

it is in the

printing-frame, and equally irrational

to

others

who

are

in their

attitude,some

ing refus-

work

on

the
over

negative with
a

pencil,but
a

eagerlyworking
The

gum of

print with
course,

brush. if all

logicalconclusion,
be

is that
on,

straightphotography
plates must
in

is to

be
"

insisted
for
"

developed
are

alike

tions modificathat
ner, man-

development
to be made

control

and
same

all

printsare
but this idea

in
user

the precisely

the

camera

who
find

should

follow reduced

out

would
"

soon

himself
art
"

to

base mechanic practicea interest beyond that which of precision

any kind.
29

devoid
to

of any

attaches

ical mechan-

FINE

ART

OF

PHOTOGRAPHY

It is

by

no

means

intended

to

imply
it may

that the

photographershould
given by
that
a

always modify plate,for

in which

the results

his lens

and

happen
all

direct

photograph
are

selection and will have

manipulative skill
the

exercised of the

suggestive power
and
to

most
rare

carefully
that be
this

worked-out
occurs,

structure; but
the

it is

artist should either the the

too

always
the

pared pre-

modify
to
secure

printor

negative

in order
ever

desired much
"

effect, bearing
may

in mind
worse

that
none

modification Mais
"

be

than

at all.

vous

elaborez

trop; de grace, n'y touchez

The that writer the
best

plus!

has

stated

elsewhere

his belief
which
pression, ex-

printing medium
of

is that

allows

the

greatest freedom

personal
he

and after many all the others

pursuant
of

to

this belief with

has,

years

experiment

literally
all the

available
in favor

mediums,
more

discarded

of oil and
not

bromespecially that he advises be

oil, but
everyone

it does
to

follow

do

likewise, for it may

that
gum,

others
*"

will find their freest

Photography,
Its

expression in

Pictorial

Principles and

Practice," Chapter

XIV.

30

"

ILLUSTRATION BY
From

FOR

STORY

LEJAREN Bromide from of

the

KILLER Print
the

Reprinted Post, by

Saturday

Evening 1917,

Philadelphia.
Curtis

Copyright,
Company

Publishing

A i

INTRODUCTORY

carbon,

platinum

or

bromide, performing
on

sary neces-

modifications

the

negative.
a

He

does,
not can-

however,
rank

mean

to
a

insist that
of
art

photograph
it carries and he

as

work
a

unless

some

suggestion
that this

of

lofty emotion,
is

believes the
some

result

rarely

attained

without

intervention hand

of the
on

artist himself

through

work
of

either
on

plate

or

print, the
is

tage advan-

working
of

the

plate being
results

that the possibility

made

duplicating
such

thereby
the writer

easy,

whereas when

duplicationis extremely
are

ficult difof

the
on

modifications the
a

result

brush wishes

work
to

print.
success,

The

seldom factor is but

repeat
of

and

this
to

consequently
it should in be

little
into

importance
account

him,

taken

by

each

worker ever, how-

selectinga printing medium.

be

It must,

borne
is eff ort

in mind
a

that

an

evident
an

mixture

of and

mediums
the

hybrid
of
some

and

abomination,
to
or

workers
in
texture

produce quality
ing etch-

photographs
the

resembling pencil or

effects
or

of

charcoal foredoomed

drawing,
to

lithography, are

failure;

art

is above

all else sincere.

II

COMPOSITION

ANY

picture,

to
or

be

satisfying,
to

must

have
all

principal object
subordinated,
of

idea,
to

which all the

else
ponents com-

is

and the

which

other

picture contribute,
or

by contrast,
A
one

by
known
in
one

suggestion,
artist
c
"

by
said:
not
"

explanation.
There is
two

wellrule
on

has

only

art

Thou
"

shalt

paint
is
no

pictures
than

canvas,'
there the It

and be

this
but

more

saying
with
pete. com-

that which

must

one

main
must
a

idea,
not

supporting
is and

objects
safe
to

perhaps
say

go

little farther

than

this

that
must

the
not

minor

objects

in

the the port sup-

picture
chief

not

only
but

compete
must

with

object,
it, for
no

that
of

they
the
what

actually
can

part
because

picture
is

be

merely
is

indifferent,

not

helpful

positively
It of
to

harmful. been shown

of of

has

that his

the

artist, because
must to resort

the

limitations instead

medium,

artifice

endeavoring
32

represent

FINE

ART

OF

PHOTOGRAPHY
is sufficient
one

ment

of

light and
a

shade

to

turn

failure into

success,

but

encounters occasionally
a

what
a

the French
"

call then

sujet ingrat
"

"

thankless

subject
of

and

it becomes

sary neces-

to reconstruct test

the entire

picture.

An

cellent ex-

good
view

pattern

(though

not

necessarilyof
the
means

sound

pictureand
the the show

composition)is to invert it upside down, for by this

lost

is subject-matter Of

sight of

and

only
not

pattern remains.
whether
or

course,

this does

not

the

minor

objects
if the

properly support
vertical and interest space
"

the central

thought, but
about
"

pattern is agreeable and balances

the horizontal
axes

both

the

that is,if the the

rest

is
so

suitablydistributed
much is

over

picture
of the

gained,

and

the

problem
In in

is

simplified.
of the

view

present widespread interest

be well to call attention between
eastern

Japanese art, it may

fundamental
western

to the

difference of that

and

theories artist holds

composition.
the
a

The

occidental space
eye

entire

picture
that the

should
progresses

be filled in such in

manner

orderly sequence
another
34

from the

one

object of

interest to

until

whole

COMPOSITION
has
been and

area

seen

each

line
amount

or

mass

has

received

its due

and
not

proper
mean
a

of attention. should

This does
be

that the space

filled with

for detail,

gradation

of

lightis
there
tist, ar-

often should
on

but sufficient^
be
no

it does
spaces.

imply
The that
are

that

empty
other that

Oriental

the

hand, holds
blank
areas

this is not

necessary

and the
not
or

acceptable
either the

portions of
It must
Eastern

picturespace.
be understood artist that works invariably merely that these of the
two

the Western

in the
are

fashion

indicated,but

the

general
Neither

characteristics does the

than writer the
to

schools. either

claim

that
pends de-

method
on

is better

other; it
as

what

it is desired of education that the

express

well

as

on

the

degree
be of

of the

spectator,
is refined
concerns

but

it may

said
a

Japanese idea
and which

characteristic

more

advanced

stage of racial
itself with
more

development,
the
manner

with

of

expressionthan
the Western robust

the

subjectmatter,
a

whereas
more

idea is that of which

more

younger,

tion, civilizabe of

holds

the
than

thing expressed to
an 35

consequence

fastidious exquisitely

FINE

ART

OF

PHOTOGRAPHY
A

mode
state

of

expression.
affairs
on

preciseanalogy
in

to

this

of

is found

poetry.
a

Modern

poetry is based
beautiful fine
to
a

the idea that

a

rhythmic and
stitutes thing con-

of description

beautiful

poetry, whereas
formal mode of
as a a

the older poets adhered of

expression
or

and

insisted and
have

on

the need

more

less abstract

lofty thought

motive.
a

Ethnologists
active
developed unrelatively

pointed
mind
"

out

that

strong and
of
a a

imaginationis characteristic
"

that of i.e.,
as

child

or

age sav-

and with

that,
the

the

imaginativepowers
of the
race,

cline detheir
at

development
and
more

place is

more

supplied (in art,

of

least) by

refinement
are

expression;

but

the
so

imaginative powers
active in other where
the

at

the present time

realms

(in science,for instance,

necessary
as

imagination is as

in

art) that
that

writer

finds it difficult to believe

they
of

have
art.

definitely disappeared from

The
human

the realm

being depends
the order
; and

on

three mental

faculties ; memory,
have

which imagination and logic,

developed in
of the

given, with
it seems

the developme

race

that the loss

or

atrophy of

any

one

of these faculties would

36

COMPOSITION

necessarilyresult
evolution, which
For
that and the this

in

arrestingthe
unthinkable

progress
state

of

is

an

fairs. of af-

reason

it is the -writer's belief

present tendency toward

refinement
of

to the exclusion sestheticism,

tion, imaginathat the

is future and the

merely
will
see

passing phase
return to
a

and

more

vigorous given by
of its

robust

art, with
and

the

added

power

elaborate
of

exhaustive

study

methods One
to

expression.
which

factor

unquestionably operates
is that it is unfortunately

encourage

gestheticism
among

the custom
to

present-dayeducators
the

repress

and

restrain their

imaginative powers
than to direct As
a

manifested and

by

rather pupils,

guide

their
of

development.
this unfortunate

natural

consequence average

attitude, the

adult

is

sorelylackingin imagination;
to

and, findingit easier of, and

an

cultivate

an

tion appreciaof

enthusiasm

for, refinement

expressionthan to reinvigoratethe atrophied his attention faculty of imagination, concentrates

on

that

phase
he
no

of art,

lauding

it above

the It is into

facultywhich

longer can
who
37

command.

the fable of the fox

done lost his tail,

FINE
modern
to
a

ART

OF

PHOTOGRAPHY
the

terms. extent

However,
be

imagination

can

great
of the

regained,and though
in the it is but

it is

of

primary importance
in

original tion conceplittle less

picture motive, composition.

on

valuable

Composition depends
fact that every in the

the
mass

fundamental and every line

spot, every
a

picturepossesses
or

certain this
on

power

of attractin

guiding

the

eye,

or attracting

guiding

power

depending
to

the

size of

the

spot, its placing within

as

the area,

and

its intensity
"

compared
of
a

its

surroundings
its intensity,
be

or,

in

the and

case

line, on

its

direction

its magnitude. that

so

It should
as

stood underclearly is concerned

far

composition

the

painterand the photographer approach the different standpoints, the subjectfrom entirely
atitude being synthetic,whereas painter's
the

photographer's painterstarts
by adding
and various

is
a

analytic.
blank
canvas

That
or

is, the
paper up
a

with

and
plete com-

items

to it builds

harmonious
task is to

whole, but the photographer's

select from
the which of infinity will
bine com-

items

presentedto him those in a satisfactory manner.

38

Therefore, the

COMPOSITION

photographer's problem
a

is

to recognize chiefly
one,

composition rather
that be
a

than

to construct

and

it is evident

discussion
to to

of

composition

which
be
or

would

of value

the

painter might photographer,

unnecessary

practicallyworthless
at

the
an

least of
can

might

involve

amount

study,
build

for it may
a

be

said that

if

person he
can

up

satisfactory composition
when it is presented it sometimes

usually appreciate one

to

him. the

Of

course,

pens hap-

that it also
occurs

painter
that

works
camera

and analytically,
user

the

(especially
that
to

in genre but many the

to

work)
the

will

have

to

cally, proceed synthetias

general

rule

is
be

given, so
recommended

books student

which of

would
are

of
not

great value

painting
method

the

photographer.
the with

Whichever should be
so

artist
the

adopts,
of
"

he

conversant

principlesof
the
that
to

composition
involves
reacts

that
no

the

arrangement

ture piche
a

conscious and
"

thought
for

automatically
or

unconsciously
a

good

bad effort

arrangement
to

definite,conscious
certain

mold

picture along
labored stiff,

lines is

sure

to result in

a 39

and

arti-

FINE

ART

OF

PHOTOGRAPHY
will

ficial

product, which
far

repel the
the

observer
must

by
be the

its very

rigidity. Therefore, study beyond

the

continued worker of
the has

point

where

learned

fundamental
no one ever

principles
reaches doned, abanutter

composition; in fact,
point where
for it is such

study

may

safelybe
to

impossibleever

attain
as

perfectionin anything. In art human activities, book-knowledge

so,

in

other is
less; use-

alone should

though
works

the

young
on

worker

read should

all that

is available

the

subject and
he

study
never

the

of the
a

great masters,
has

he

can

compose

picture until

learned
even a

by experience and
better teacher than be

failure,for failure is
success.

Therefore, study

should
and be the

always
student

supplemented
not

by practice,
himself
need
to not

should his

permit
"

discouraged by
them. rules laid be Absolute

failures

he

exhibit

for

composition, of
but certain from basic the

course,

cannot

be may

down,

ples princistudy develop

of

enunciated, and
these

and
his

of application
own sense

the worker

will

of

arrangement.
space
40

An

entirelyblank

has

no

power

FINE

ART

OF

PHOTOGRAPHY
the
no

eye

comes

to

rest

on

spot, and
inclination

remains
to
move

rected di-

thither, with

FIG.

3.

FIG.

4.

about.

If,

now,

another

spot be added,
and forth from
we see

as

in
one

Fig. 3, the
spot

eye travels

back

to the other

-and from
42

this

that any

MIST From
a

IN

THE

VALLEY Enlargement

Bromoil

COMPOSITION

spot within
some

the

picturespace
Suppose
a

attracts

the eye
to be

to

extent.

third

spot

added,

FIG.

5.

FIG.

6.

as

in

Fig.
over

4, and

it will

be

seen

that

the

eye

travels

the three of two

of them
more

the addition

but impartially; spots, as in Fig. 5,

43

FINE

ART
the

OF

PHOTOGRAPHY
and

gives
forces

eye

slightlydifferent
of
a

course,

the

idea

sequence, these
same

or

order
means

of

servatio obof
a

Joining
line,as in Fig. 6, the
but the
eye

spots by
sequence and

is

observed,

travels

back

forth

along

the is

line,finding no

complete composition;

there

FIG.

7.

nothing portion

to

lead the

the

eye

into

the

unoccupied
the
treme ex-

of

picture area.
line eye

Joining

ends

of the curved
we see

by

straightline
over

(Fig. 7)
entire

that

the

travels

the every
position com-

closed

figure,being
and the

carried

into
as

quarter of the picturespace

(so far

the is

goes)
in

composition
eye
not returns
a

plete com-

in that the itself,

to

the

startingpoint,though it.is
44

finished

pic-

COMPOSITION
ture.

From

all this it is

seen

that
power

any

spot in

the

picturearea
the eye,
a

has
a

certain of

of attracting
attracts
a

that

series

spots

the

eye

in

certain of
may
a

progression,that
series
induce of the eye
to

line is the

equivalent

spots, and

that

straightline

travel

from

one

point

to

another

exactly as being
the curved
is

does

curved

line, the difference

is
more

that the

line straight line

covers
a

direct, but

greater

territory. This
the
a

the

fundamental

theory of composition. Reverting picture area

one,
as

to

spots, let
small

us

place
then
a

in

the

first

spot and
once

large

in

Fig. 8, and
other

it is at

apparent that

the

larger spot,

things being equal,has

45

FINE
the that

ART

OF

PHOTOGRAPHY

greater attractive
we

power.

Suppose,
"

now,

have and
a

three

backgrounds
gray
a
"

light,a
of these

medium
we

dark and

and

on

each

place a
in

white
9.

black

spot of equal size,

that
in the first

as

Fig.
the the

It is apparent

case

black

spot is

more

attractive, in the

second

attractions

are

equal,
has

and

in

the

third it is the white attractive

a

spot which
This shows

the greater of

power.

that the value

spot in attractingthe eye

its

depends
on

not

only

on

size,as in Fig. 8, but also

its contrast

with Let

the
us

surroundings.
now

place two
area,

equivalent spots
one

in

an

otherwise
of the

empty
and

putting
near

at the

center

space

the other
once seen

the
that

edge, as
the

in

Fig. 10,
to

and

it is at

the eye tends

that

rest

on

the latter,this

showing
it may
exact

tion posiits

of power

spot in the picture space attraction, and

shown
the

influences be
said of

of

that
the

experience has
picture
to

the

center

be

weakest location

part.
for the

Generally principal
into thirds

speaking, the objectis found

or

best

by dividingthe
and vertically
or

space

fifths,both
one

and horizontally,

choosing

another
46

of

the

intersections

COMPOSITION
shown. axis

Broadly,
is

location
one

above

tal the horizon-

to preferable

below, though this,

genre,

almost
does
not

invariablytrue
always hold
mark

in in

and portraiture

landscape.

Some

tograph phoshown

off the
some

ground glass as

in

Fig.

11,

or

in

similar manner,

depend-

FIG.

10.

ing
too

on

the but

lines

as

guides
is not

in

arranging
tends

the

ture, picthe

this
of of

course

advised, for it
to

savors

much

and artificiality the

reduce

making
should

picture to rule, something

be

that
range ar-

never

attempted.
far
as

It is best

to

the
reference

picture,so
to

possible,without
for, though
of the

the

focussing screen;
and inversion

the
on

concentration

picture

the

ground glass facilitate composition, re47

FINE liance
mean

ART these

OF

PHOTOGRAPHY

on

factors
on

ultimately
and

comes

to

dependence
is at
sea

them,
ever

the
to
use

rapher photoga

if he
must

wishes

hand

camera.

Art

be

(or

at to

least
work
sense

appear)
with
of
coma

spontaneous;
freer

and

it is better

hand, gradually acquiring a

FlG.

11.

positionthrough repeated failures, than

a

to produce

picturewhich

is

mathematically correct,
cold. three

but

is

labored, stilted and

If in within

undertaking the placing of

the

spots
at

picture
from

space

we

group
or

them

equal distances
that this

the center,
as

in any

other find

regular arrangement,

in

Fig.
in
a

12,

we

adjustment

results

composition
formal,

which, though

complete,
48

is stiff and

COMPOSITION and
or

any

regular grouping,
so.

whether

of

spots
a

of lines,will be

Shifting the spots

lit-

FIG.

12.

FIG.

13.

tie, as
far
as

in

Fig.

13,

produces
space

the is

same

result

so

covering
more

the

concerned,
A

and

gives a
4

vigorous,vital
49

effect.

regular

FINE

ART

OF

PHOTOGRAPHY
formal decorative

grouping belongs
and for

to

"

"

art,

anything else an irregularspacing is to be preferred, as giving considerably more to the picture. vitality A be secured satisfactory composition can that only by so arranging the lines and masses

FIG.

14

the

eye

travels

over

the

entire

picture space
time
to any

in

due

and

orderly progression,more

being
of the

given
others.

to the

objectthan principal importance

the about both

It is of vital

that

the and

ture picthe
on

balance horizontal each and

vertical

axis, that is, that the attractions

axes

side of these there

In
are

be
ways

approximately equal,
of

several
14

Fig.

two
50

ance. securingthis balspots of equal size are

COMPOSITION

placed
from

on

the horizontal

axis

at

equal
is

distances but

the

center,

and

balance

obtained;

FIG.

15.

FIG.

16.

it is

formal

balance,

better

arrangement
one

ing be-

that balances

of
two

Fig.

15,

where
ones. 51

large spot
ar-

smaller

Still another

FINE

ART

OF

PHOTOGRAPHY

rangement
is taken

is that of the

of

Fig.
that
a

16, where

advantage
the than
were

fact

spot

near

edge
one

of the
near

picture has greater

center, whereas
the

attraction

the

if the
one

spots

ilarly sim-

located the
the smaller. smaller

large
may
contrast

would varied
more

overpower

This

be

by making
with its
roundings sur-

spot
than

the

larger,or
distance
to

by placing
of the the

it in

the the of

distance latter

or

middle

picture,

course

tending
illusion termed the the

aid

suggestion
dimensions.

depth
has and

and of been is of
an

the consequently facilitating

of three

securing
This

balance
most

of the

yard, steelof all

probably

vigorous
one

the forms
to

balance, and

the
It is

most

useful trated illus-

the

worker. pictorial
in A Summer
mass

admirably

Landscape
of the distant
mass

(page 78),
trees

where houses

the

small

and ground fore-

balances
trees

the

larger
in which

of

the

and

shadow,

and

in Mist

in the
the

Valley (page 40), foreground poplar

axis within
Pasture

the

hills and
an

balance

across

imaginary
Hillside

the

picture,as
el Wahshah
52

well

as

in A

(page 54), Easterly Leylet

Weather

(page

204)

and

(page 304).

FINE
the the
sitter's

ART

OF

PHOTOGRAPHY

face, this
Miss

use

being exemplified in (page 268).

and the

portraitby
"

Collier

In

Pictorial

Composition
fundamental

Critical

Judgment

of Pictures,"
seven

Henry

R.

Poore

tinguish dis-

forms

of composition:
the

(3) (1) the scales, (2) the triangle,

circle, (4) the
curvature
cross,

(5) radii, (6)

S
or

the line of

the (i.e.,

its

the zigequivalent, zag), forms of

and

(7)
from

the
an

these rectangle, extensive themselves

being

inferred
which

study
to

pictures

have

shown
of

be

satisfactory
is,when
a

in the matter

composition.
to

That

picture is
an

found

be

satisfactorily arranged,
is certain practically

analysisof
reveal the

its structure fact

ones

to

that
as

the

chief

masses
one or

(and
other an-

often

the minor of these

well) take
a

forms, either in
it may
can

flat

plane
two

or

in
or

and perspective,
more

happen
be be found

that

of these

forms

in distinguished

one

picture. Thus, picture the

this tends does
to
cross

it may is

that

in

some

superposed on
within the

the curve,

or

the circle is contained

not

but triangle;
"

vitiate

the
Mr. of
54

analysis
Poore

it rather

strengthen

it.

also shows
be-

six fundamental

forms

these chiaroscuro,

COMPOSITION

ing
forms

found

in -combination

with

the

structural

already indicated, and deservingespecial

from the

attention
to

photographer, since
shade, rather
a

tion atten-

light and
cultivate
Mr.

than breadth

to

line,

tends

to

quality of
is

in the

artist's work. of

Poore's

analysisof the
and he
the
as

ject sub-

composition
the
been

masterly,
that

proaches ap-

subjectfrom
indicated

standpointwhich
best suited
so

has
to

already
the

photographer (that is,the analytic);

it is

that a careful unquestionably the case study of the book in question, together with

the

study

of

picturesto
sound

which

it encourages

the
a

reader, will, if properly assimilated,produce

with familiarity fail to unconscious

composition which
itself in

not can-

manifest

spontaneous and

selection of the
to

good arrangements

presented "by nature

One book

the

photographer.
Mr. Poore's

paragraph
should
as

in

of particular

be

memorized in
a

by

every

rapher, photogthe whole

in
a

it contains selective
observe
we
a

nutshell

theory
nature

of
we

composition: "When
scene

that

naturally fits
first at
one

frame

and

find ourselves
at another
55

gazing
and

objectand

then

returningagain

FINE

ART

OF be
are

PHOTOGRAPHY
it will make
to
*

to

the

we first,

may
we

sure

ture. pic*

But

when

tempted
horizon
a

turn, in the
*

inspection of
proves
we

the
not

whole found would

it

have

picture." To
add that
so

this
far

the
as

present writer
the
should

only
made

photographer

is concerned

this examination

preferably be
to
remove

through
found

ray-

filter, so

as

the

element disturbing

of that

color, for it will

a

not

be infrequently

subject which
loses all its
It is
on

is

in thoroughly satisfactory when

to

color

beauty

reduced

to

chrome. mono-

well, too,

make

the
at

spectio final inall events

the

focussing screen,
of

until

good
for
our

deal

experience making
of the

has

been

tained, at-

binocular, stereoscopicvision
us are

often

deceives

into

exposures

on

subjectswhich
seen

dull and

when uninteresting
camera.

with

the

single eye
element

One careful almost

means

important equally
to be

in balance

deserves

consideration, for it is vital in genre,

so

in
in

portraiture,and

by

no

ignored
toward

landscape
"

that is,balance
any ment ele-

by
in any

motion

an

area.

When

in the

pictureis shown
56

apparently moving
eye is

direction

the observer's

powerfully

HILLSIDE W.
a

PASTURE

BY From

E.

MACNAUGHTAN
Print

Platinum

COMPOSITION
carried and in the direction of the

apparent motion,

this form the

of balance

gives more
than
any of

vigor and
other. One and

life to of the

composition

weaknesses

of all forms

graphic

glypticart
is that it
can

(ifwe

except the motion-picture)

and
cannot

only suggest
balance
to
a

actually
motion

show aids This

motion, and
this mode

by apparent
remarkable
be secured

suggestion
of balance
one or more

degree.
in genre

may

by having

of the

figures actively
in it portraiture sitter turn
if out- doors

engaged
may

in

doing something;
by having
his

be
at

attained
an

the
or

his

head

angle to

body, also);

by

having
this
the

the

garments
genre be

wind-blown and in

(obviously,
landscape
ing blowor

applies to
effect may of

given by
movement

the apparent
of

trees, the
of
some

clouds,

the

action the

small

subordinate

figure within

examples being found in Evening picture, Breezes (page 90), Illustration for a Story (page 28),
and

the

as frontispiece,

well

as

in
In

several
any
case,

other

reproductionsin

this book.

the effect is of great value. that this form is

"

It will,of
of balance

course,

be understood be
"

may

and

often

used

in

conjunction

57

FINE

ART

OF

PHOTOGRAPHY restriction A

with
as

others, for the artist is under

the mode
once
man

no

to

of
to

securing
the

result.
"

great
care

artist how and

a

said

writer:

I
as

don't

gets his effect,so long

an

he gets

it,"

this is

excellent

motto
as

for the

pictorial good.
by

photographer; in
only thing that
It is
no means
a

art,

in other

matters, the

counts

is that

the result is

well-recognized fact, which

be

must

ignored by

the

worker, pictorial
different

that different

types of line carry

gestions, sugto

this circumstance the with Each muscular effort and

being partly due

to

required
to

follow

line

the eye,

partly

racial association.
a

change
the

in direction

of

line calls for

an

effort to when

change
than
one can

the motion
are

of the
more

and eyeball,

changes

abrupt they
a are

exertion

is

necessary
so

when follow

more

gradual,
a

that
more

straightor

curved

line

readilythan

zig-zag one.

Probably
is

the immediate

effect of this condition

slight,

but its operationthrough many

generationshas
is of

produced
in of linear

an

association attitude

which toward Ever

importance
forms first

directingour
notice

certain

arrangement.
his
58

-since man

began

to

surroundings (except with

FINE

ART

OF

PHOTOGRAPHY
if
so

though
the
reason

it may for

be doubted

they

ever

analyzed
It lows fol-

the effect
a

obtained.

that
or

jesty, masuggestion of strength, nobilityis desired, the vertical line

when

should

be the

whether
or

dominating one in the composition, the pictureis a landscape, a portrait,

other
or

any

arrangement,

though,

of

course,

opposing
to

diverting factors (page 228),

by
the and sinuous

may

operate
for

modify
in

the effect of the

verticals, as,
where

example,
crossed

Sycamores
are so

the vertical

lines

broken

foliage
lines
of

and
that

so

by
is

horizontal
one

the effect

of

quiet rather
this with
seen

than

majesty.
Weather

Comparing (page 204),

of the in The

Easterly
that when
a a

it wrill be

totally different general form tendency, and 66), the

detracts

expression results compositionis of

Woods

the

vertical

of Colonos
of the the

(page
picture
of the

horizontal

arrangement
from

somewhat

strength
calm
and

vertical lines of the trees. The chief characteristic of is

a

ful peaceof

landscape
horizontal with

usually

the

predominance

lines ; and

tion this,possiblyin combinawe 60

the fact that

generallyassume

COMPOSITION
horizontal

position when
that
a

resting,accounts
with it

for

the

fact

composition showing mainly

a

horizontal
rest

lines carries

suggestion

of

and

quiet
"

there

is

nothing stimulating or
the observer
a sciously uncon-

exciting
it is found
too

about

it, and
at
a

relaxes
that

sight of
be

such
so

picture.

If is

landscape
of actual

constructed

relief quiet,
an

may

obtained, without
unrest,

ducing intro-

element

by

the addition

of rounded
we

cloud up

forms, for example, since

with

associate

an

-springing curve
the

ness, lightof also

buoyancy

and

and light kinds

airy grace

youth.
be

Of
to

course,

other the

of line may

used this

break

monotony
a

of the horizontal,

being merely

suggestion.
to the horizontal

In contradistinction

the line,

the writer's In diagonal suggests motion. Remington's study hangs a print of Frederic Lake., showing Evening on a Canadian picture,
two
men

and
the and

dog
of main
the

in

bark

canoe,

gliding
of
the

along
woods,

edge
the

the

dark line of

reflection the

picture

is

diagonal,where
meets

dark

tion reflecgreenish-black
water.
canoe ae-

the

blue

of the unshadowed
the

So

strong is the

suggestionthat
61

FINE

ART

OF

PHOTOGRAPHY

tually seems
shade of the

to

move,

though
other the color the

the

artist has
"

so

adjusted the skilfully

woods,
the and sunlight,
as

factors

the

deep
well
"

of the

evening

quality of
is

as ripples,

the attitudes the

at

and

of expressions

the actors One

as

that

motion the

evidently slow.
as

ing lookin

print knows
these
men

well

if told

words

that

are
a

paddling leisurely
camp; and it is
"

along, searching suggestion of

one can

for

good
that the

this kind smell will the

is worth

while

almost
men

'balsam Of

boughs

on

which

these

sleep.

course,

for the

suggestion of
it must

pictureto
had
not

be

fully operative

fall within

the observer's
never

experience ;

city dweller
lake of
at dusk

who
would and

paddled along
odor of the

smell

the fresh, cool air

greens, ever-

evening

the
not

pungent

would the water would of

a

hear

the swish

and

rippleof
nor

along
see

the sides of the frail canoe, the flash and

one

he

in memory

sparkle
the suggestion,
from

leapingfish ; but no the feelingof

The sinuous and

could miss that

comes

motion

the artist's skill.

line is associated

in

our

minds

with

grace

beauty, and
62

instances

innumer-

COMPOSITION
able
curves

arise

to

support

this

contention.

The of

of the human

body (most
if

beautiful

all animal the

of
curves

forms)
of
a

the lines of all wild

"

animals,

snake

one

can

free his mind and foolish

at

the

customary

but

abnormal and

prejudice against snakes,

one,

really look
look and

he will grace

see

that

it is

creature
we

of incomparable
see

"

everywhere we
are

that
tion. mo-

curving
reached motion

lines

lines of grace

easy grace

Herbert the

Spencer analyzed
that the
most

and

conclusion
one

graceful
sired dethis is
tain cer-

is the

which the of

accomplishes the
effort, and

result with

least
our as

perhaps

the

cause

appreciationof
for graceful,

lines and

motions is the
one

the most follows

pleasing line
with that the

which

the

eye

least muscular is
some

effort, provided only

inherent in it
"

there

variation

line straight

is the most

direct,but is apt
went
so one

to be

rigidand unyielding. Hogarth

to

far

as

select from

a
"

number

of

curves

which

he

designated

the line of beautiful would

two
63

beauty," declaring
of all
agree persons

it to be

the most

lines,though
with him
think
"

probably not
it

everyone

rarely happens

that

ex-

FINE

ART

OF

PHOTOGRAPHY

actly
matters
one

alike

on

any

subject, particularly in
line is the
most

of taste.

Still,the sinuous
of when

to

be made

the

the

desire

is

to

express

the characteristics is just the

indicated.
reverse

The

zig-zag line
for it in the with

of the sinuous,

demands

sudden of motion line the

For

and

abrupt

changes
whereas

direction
curved
nature.

of the eye,

the

changes
reason

are

gradual zig-zag
of flight found the

in their line

this and

the

typifies unrest
and
or a

instability,
like the

quickdarting
a

changing motion,
sparrow,
an

bat

ing illustration be-

in Meissen
so

(page 178) though

,

here

artist has with

countered skilfully

the

onals diag-

other

diagonals
within

and

with

verticals

that the It must

pictureholds
not

the frame.
that the

be
a

supposed, however,
line of any the desired

introduction

of

particulartype

is

sufficient to carry
on
a

suggestion,nor,

the other line may factor

hand, that the suggestive effect of

not

be

counter-balanced
of the

by

some

other In the

in the arrangement

pattern.

Remington
and

picturereferred
by
the

to the main

diagonal
of the

line is countered

curved
of the

lines men's

canoe

by

the verticals
64

COMPOSITION

bodies,

so

that

the

suggestion
and in

of

motion
as

is

strongly modified; by
line to tiresome character
must

Sycamores,
are

ready al-

stated, the verticals

the horizontals

powered entirely over-

and
use

the
of

curves.
one

In of

fact, a compositionmaking
excess

type

becomes

either monotonous

and
the

or

restless and of the

fidgety,whatever
every if the

picture,and
account

element is to

be
a

taken and

into

result

be

unified
fact

harmonious
is of the

whole.
utmost

One in

which with

importance
line is that
a

connection
tends rather
one

the
a

matter

of
or

the eye
line up
a

to follow

vertical and
a

diagonal
or

than from

down,

horizontal

diagonal
of

left to of
course

right, this
the result The

latter of
our

circumstance
custom

being reading

in that direction. curved that and

same

observation
and

to applies

zig-zaglines,
into

it will be

found

this fact enters

a

the

question of compositionto
of the is the
most

marked

degree.
to

One

debated

points in photography
how much
to

question of detail,with regard

include
and

how

much

to

leave

out, and
is not
5

it may

be remarked
to
camera 65

that this discussion

confined

work, but is found

in

FINE

ART

OF

PHOTOGRAPHY
A

the
once

whole

realm

of art.
to the

well-known
writer:
"

author

remarked
tell my would

present

I don't
;

dare

stories
say

as

they actually happened

I
was

people

that

exaggerating
cur; possiblyoc-

wildly,that
so

such

things couldn't
tone art

am

obliged to graphic
distracts

down trouble

the incidents."
is that from the

In excessive
main
or

the

detail

attention

the

and though thought or object,

can

painter
to
was

the etcher

simply leave
must

out

superfluous
some

detail, the photographer

means positive

resort

of
"

eliminatingit.
well lens
as
was

It

for
"

this purpose

as

to

soften
first

outlines

that the soft-focus such

or

designed, and

used, either by themselves are objectives modifications of exin conjunction with posure and development,special ums, printingmediand
hand work
on

either

negative or print

or

both, to get rid of the superfluous and

detail

rious inju-

ordinarily given by
most
or

the

camera.

Breadth and
the

of

handling is a
the

desirable

quality,

fewer

details

ployed gradations em-

the greater the chance

of the
was

message
sent out

carrying. A
to

young of

reporter
a

once

get the story

train
66

wreck, and

tele-

FINE

ART

OF

PHOTOGRAPHY
forms

of repetition

the

cloud

aids the
are so

tion sugges-

of motion, because
that
a

the clouds
one

placed
along
here

the eye

travels In

from

to

another
we

diagonal line.
instance

other

words,

have

an

of

with variation,which repetition motive

emphasizes tHe
Woods
of repetition

of the

picture. In
we
,

The
the

of Colonos
from the

(page 66)
vigor

find that

the vertical lines of the tree

trunks

detracts

of any

one

particular
inforcing re-

tree, but

aids the the

suggestion of majesty by
the verticals. In

feelingof
of

traiture por-

the vertical

repetition may
a

be used with
is

good

effect

in the
to

case

full

length,which
it may

always hard
to

compose,

for

be

ployed ema

hold

the

figure within
vertical and

the

frame;
draws

series of verticals in the

eye from

background

the
carry

the main

helps to

the attention Other themselves

uses

through
of
to

the entire

this

picturespace. principlewill suggest

care
or

the overdo

worker, but
the

must

be

taken

not

to

matter,
The

the has

result
seen

will be very
a

unpleasant.
in

writer

photograph

which clouds

the
were

rounded,
used

buoyant
to

forms

of cumulus

repeat
carried

the forms

of trees, but the

68

was repetition

THE BY From H.

WOODS
Y.
a

OF

COLONO

SUMMONS
Print

Carbon

COMPOSITION
far that the effect
once

so

was

simply
said
that

ridiculous. the

great caricaturist
foundation
one slightly

essential

of

caricature
of the of

is

to

exaggerate
that the the
tesque gro-

feature

and subject, this

one,

excessive

exaggeration
more

feature, or

exaggerationof
and
not

than

produces a
This

caricature.
to heart

saying
it

might
the

well

be taken
use

by
one

for all artists,

inordinate

of
or

any

element, be

contrast repetition,

anything else,vitiates
to

the
ployed. em-

whole, by calling attention

Illusions the scenes,
are

the

artifice
a

destroyed by
we

hind trip be-

when the

recognize the
ascend
and

windlass descend

by

means

of which

gods

Mount

Olympus.
that
a

It is necessaiy exit be found

suitable

entrance

and
say,

in the

picture.

That
some

is to

the eye must

must

first be attracted

by

element,

then the
been

follow

in

an

orderly progression
and, when
element
of

through
has received
eye
must

picture space;
amount

the

cuit cir-

completed, each
proper

having
of

the be
Few

attention, the
out

gracefully things
the
are

conducted

the
a

frame.

more

annoying

than

picture in

which

entrance
69

is obstructed

by

FINE

ART

OF

PHOTOGRAPHY

some

insistent

accent,
the
eye

or

one

which

is

so

ranged ar-

that
over

follows without

again
a

and
of

again
ing leavin

the off.

entire The
eye

space

chance
a

writer
was

has

seen

photograph
around

which

the
an

obliged

to

travel the

and
ran

around
after
go,
a a

ellipse, and,
and

like

boy

who

trolley-car
effort
at

caught

it, couldn't
in

let
to

violent

being

necessary

order

stop looking

the

print.
an

In

landscape
in

the traiture porone,

sky generally
the the

furnishes
must

exit, but
arrange

artist
seen

carefully
head
been
set

frequently

against
termed

plain
the

background
"

having
and back
no

aptly style
merit
of

walk

in

out

"

portraiture,
beyond
to

and of

possessing
likeness.
to

possible

that ask with

on a

It

is

equally ungracious
and him that

person barred

one's
or

house
to

confront
in and the

him insist has

door

invite he feels

his

remaining
for him
to

after

time who

come

leave, and
to
or

the
from

artist his

makes

either

entrance

exit
a

cult picture diffiand

infallibly leaves
the likelihood

bad of
a

impression
second

minishe di-

visit.

Ill
VALUES

THE

term

"

values

"

may

be

defined

as

the

intensity
this

of

light reflected
is not

from

objects, though
correct
some

definition

precisely
of

from

the

point pictorialist's
have
a

view,

since

colors their
tual ac-

psychic

effect

different

from
we
are

photometric
to

value.

Thus,

tomed accus-

associate
a

yellow
may

with

light

and

warmth,
to
a

so

yellow object
or,

appear
"

lighter
than,
say,

the

eye

"

rather,
which

to

the the

mind
same

violet

object

has the

reflecting
as

power.
may

Nevertheless,
be

definition

given

accepted
be

as

generally satisfactory.
that
no means

It of
a

must

understood
are

the

light

values for the

given object
vary

by

constant,

they

with

the

quality
and

and
even

intensity
under
a

of

incident

illumination,
are

given
same,

light they
so

not

necessarily always

the

far

as

the

pictorialeffect
one

is concerned. about
of

For
set, sun-

example,
facing
in the

suppose

is

standing,
there is
a

the

west,
distance.

and

row

trees

middle

The
71

eyes

will

naturally

FINE

ART

OF

PHOTOGRAPHY
to

accommodate

themselves
and
as a

the

illumination
contraction
mass

of of

the
the

sky,
the

result

of
seen

the

pupils no
of

detail will be
will

in the dark opaque

of

trees, which

appear of
an

and ness. blackthe

empty

gradation, and sky, details

and

intense

If, however, the eyes be shaded

from

lightof
out

the
a

gradations will leap

in the
trees

in

most

astonishingmanner Suppose,
with the
now,

and

foreground.
the trees
is

that shaded
the

after

looking at
it will have be

eyes
at

for

time, the gaze

again
that

directed

sky, and
may

found

this, which

before

had and

considerable

gradation, now
second

appears

white
at

to look blank, if,indeed, it is possible

more

it for

than
that

or

so.

From

this

it is evident
must

the values

in any
to

arrangement
one

be considered
as a

in relation

another,
say be

and

whole

"

that and

it is such
case

impossible to
a

that definitely thus

must

such In

value

must

and
be

so.

each

the

desired
In

effect the
stance in-

taken

into

consideration.
interest

given, if the sky

it will be

happens
and of the

to be in the
a

perfectlyproper, underexposed, so
72

correct

rendering of

the appearance is

scene,

if the
mass

foreground

that

the

FINE cial

ART
this may

OF

PHOTOGRAPHY
be

cases

done.

The

scale

of the

actual values
the

of most

compositionsfar
medium,
his

exceeds

possible range (in the

his

of any
for
case

because

the
white
to

artist is limited

highest lightto
the
absorbs

pigment
white and
for

of

photographer
some

paper)
reflects

which

always
black of

light;
ways al-

black, to
some

pigment,
incident
sun,

which

the the

light. A
has
or even an

landscape

may

include of

which

intensityof
if this is not

millions within the

can

candle-power,
of the still be

the limits may

picturethe
thing any-

of intensity which
paper,

sky
be

far above

truly represented by
the
a

white

since especially

picture is generally light;

in

examined in fact, the

indoors, by

weak relatively
a

deepest shadow
more

landscape may highest possible

scene.
are

easilyreflect lightin
the

light than
of

the

photograph
a

of the

ilarly, Simdark

shadows

night

scene

to photography, and beyond anything possible

it is

hopelessto attempt an of them as they in fact

secure scene
a

accurate
are.

tion reproducis,however,

It

to possible

satisfactory representation
by
a

of almost

any

correct

adjustment
it not

of

the relative values, and,

74

indeed, were

for

VALUES this fact

"

no

graphic representationof
any
"

any

ject sub-

or

almost

would

be

at possible

all.

If of

we

choose

blank
"

paper

for the

highest light
way,

the

picture which,
it

by

the

should
to

rarely be done,
some

being usually better

lights
"

have the

tone,

even we

in the extreme
can

and

deepest black
shadow, and
other values

command

for the darkest

we

in between

these

adjust all
of the

the

in their proper

relation to the

est high-

lightand
the
In

the

deepest dark
carry
even

original,
desired. the full
are

picture will
fact, it is
of the
not

the

suggestion
to
use

necessary

scale

paper,

for

if the

values

rectly cor-

adjusted
may
tones

among
as

themselves
the

the

effect
of

be

as

good

though
be

full range from the

were possible

employed, and
a

torial pic-

standpointit may
The
writer

great deal better.

which the

has
a

seen

picturein
and

est high-

lightwas
no

lightgray
a

the

deepest dark
yet the suggestion

darker of

than

medium
was

gray,

moonlight
with

the internal been

cause perfect,simply beof the values had relationship absolute accuracy. In the

adjusted
should
a

passing, it
shadows of

be observed

that

though

moonlit

landscape are
75

intensely

FINE
black

ART

OF

PHOTOGRAPHY
flat to the eye ; there is

they never
sense

seem

always a
The is
a

of space

and

depth within
state

them. this

writer is not

prepared to

whether

psychiceffect, due to our knowledge that depth actually exists there, or is a physical author as one claims, phenomenon, (arising,
from within the existence of
an

inherent

luminosity
that
a

the eye; but the fact remains

not

flat,

empty black does

of
a

trulysuggest
To obtain be

the shadows the true

moonlight
some

scene.

pression imthe

light must
the

found this may

in

darker

portionsof
of
a

and print,

take

the form
a

slight gradation or, preferably,

the darks
or

luminosity of
case

themselves,

as

in

the

of

carbon

multiple gum
least effective

print,a
of

heavily-inkedoil, or,
varnished The methods

all, a

platinum.
has described elsewhere
correct not
*

writer
to

the
dering ren-

be

employed

for the
so

of relative values,

this need

be

here, but recapitulated although it is sometimes

the actual values, as
a

it is worthy of note

that

in

to reproduce possible the case of a portrait or

it is seldom still-life,
*"

worth
Its

the effort, since

Pfactice," Chapters

Pictorial III and

Photography,

Principles and

IV.

76

VALUES
the
one

values

thus

obtained

are

correct

for

only

definite
truthful

of viewing illumination, intensity

and will of

adjustment of
desired effect
correct

the relative values

a

give the
To

within

wide

range

key.

be sure,

actual values the

reverse

imply
is not ues val-

correct

relative values, but

case.

the necessarily
must

Of

course,
near

the actual
"

be

somewhere
the

right
is
a

portrait
gray
"

is not
but

convincing if

face

dark

and
be

adjustment of precise an approximation to

satisfactory.
correct

the internal

relation
will

the true

values

rendering of the relative values, of the scene, though it givesa true impression
is apt to be since nature, pictorially unsatisfactory, commands though almost always pictorial, effects which are beyond the powers of the artist As has been pointed out, the to imitate. artist's limited powers obligehim to resort to of the finesse,to dealing in symbols, and one effective of his artifices is the modification values.

most

of relative

Therefore, he darkens

there, perhaps lighthere, lightensa shadow obtrusive spot; and some obliterating entirely thus, by producing an effect which is impressive
rather than

truthful,he conveys
77

his

mes-

FINE

ART

OF

PHOTOGRAPHY would be

sage

"

message
an

which

conveyed
scene,

far

better

by
a

actual

renderingof
it lies within be

the

were

such the

thing possible ; whereas,

as

if he adhered

to

truth, so far

his abilities to and

west

do so, the result would

dull,mechanical

uninteresting. If just after sunset,

with color, and
or

we

stand

facing

the

while the
across see

sky
broad
the

is still glowing fields of grass is

look

grain, we
and This

shall the

that

sky
is
a

intensely

luminous
green.

foreground

light grayfectly per-

can relationship

be rendered

if
used taken with

non-halation, color-sensitive
a

plate be
is and

suitable the

ray-filter, provided care

with

exposure,

development,
not

printing; but the result will for the same suggest the original,
obtained
to at

necessarily
effect
can

be

mid-day

if there is justenough haze of cast

prevent

the formation

shadows, and

photograph may represent either of these in The painter can effects. suggest the scene its true values, for the evening color is not at but the photographer can all like that of noon, accomplish the result only by falsification of values. By developing his plate a little more stronglythan for a truthful result, so that by
the
78

VALUES the time the make it

was

the

sky

has

assumed

its proper is too

tone

in
can

print the foreground

the

dark, he
of done

picture suggest
in his
It is
.

the time
been

day by

when Mr.

taken, and

this has

Summons

print, Leylet el Wahshah

to interesting
a

(page

304

note

that if like
at

treatment
or

is accorded
noon on a

similar

picturetaken

about

hazy day, the suggestion of

a

evening
color

may

be

secured, provided
for

suitable

is chosen has
one

the

print.
over

The

rapher photog-

advantage
at

the

painter,this
of

resultingfrom
of often
same,

the fact that

although the color

times

objects differs happens

so

different
the

day
are

it

that

relative values

the
not
era cam-

that

by

proper

manipulation
"

necessarily involvingany
user can

hand
an

work

"

the

frequently give
the

ent differentirely from that taken

interpretation of
afforded

scene
a

by

nature.

Thus,

picture
"a

about made

dawn
to
near

may,

by printingin
an

low

key, be
and
one

simulate

evening
like
when

scene,

taken

twilight may,
to look
use

by choosing a high

key, be

made

earlymorning.
the
some

This

plan

may

be of
scene

of the

suggest
79

objectsand tern pattime particular

FINE

ART

OF

PHOTOGRAPHY
to possible

of

day, but
Contrast

when

it is not

secure

the

desired

angle of lightat
is one

that hour. useful tools in the in

many

of the most
may

artist's kit, and

ways.

be

employed
with

Thus,
a

horizontal

line may
model

be contrasted
an

with and and

vertical,a young
on,

old one, of

so

but it is particularly contrast which will be referred

light

shade

to here.

It has

already been contrasting one

is to

pointed out
space

that the effect

of with and

of

lightor
value A

dark

another

the intensify

of each,

this fact is of which

primary importance.
a

ture pic-

in is entirely
a

low

key
it may is

is apt to look
be

muddy,

if in

medium if the

key

dull and result

characterless, and
may
a seem

key

high the

pale and
amount

washed-out.

If, however,

suitable

of contrast
or

is introduced, the
a

picture brightens up amazing fashion,

of and

in gains solidity often

but
to
a

most

touch slight

lightor

dark

is necessary
to

accomplish the lackingin

the

purpose.

Try

imagine the (page 90) (page 304)

,

clouds
or
a

Evening

Breezes

sky in "Ley"

let el Wdhshdh if necessary,

flat tone of

even,

coveringthese
of the
80

touches

with light
as

pieces of

paper

rightvalue, so

to

get

VALUES
the effect and it will at
case

"

once

be

seen

that the

result
But

in each

is

decided

loss of
use

vigor.
trast con-

what

is

perhaps
when
are

the the

strongest

of

is found

highest light and

being kept
of both

the
mainder rea

deepestdark
of middle

the placed in juxtaposition,

the

picture by
this

area

in

tone, for

means

the concentration

of attention

is great and

the force This

light
in

and the
the

dark

is

augmented.

is illustrated

latter of the domes

from

of

picturesmentioned, in which the buildings receive great emphasis proximity

dark
of

the

the

strongly
ing be-

lighted sky,this
against the
This of
men

latter in turn

gaining from

spots of the buildings.

value in the

artifice is of much of
to

portraiture
be
ployed em-

strong character,where
call attention
to the

it may

salient

points of
portraits
A. ing havthe

the sitter's
contrast

In personality.

the present volume

is illustrated

in the author's

of his mother

(page 16)

and
,

of Dr.

Edward
persons

Reiley (page 240),

been
use

both

of these

of marked
in

force of character; and

of contrast

general is admirably exemplified for a Story (page 28)

In
.

in Illustration The
6

and and

Prelude

(page 166)
81

Mr.

Killer's

FINE

ART

OF

PHOTOGRAPHY
controlled

Miss

Gilpin's prints the rapid yet

dark

interchangeof lightand
and
snap

givesa
in
no

brilliance
way.

which

can

be secured
use

other

The

danger

in the

of contrast thus

lies in the

of possibility either
a

overdoing it,

producing
This
is

common

harshness, or both. or spottiness fault with beginners, who,

and
what

exposing under-

overdeveloping their plates, duce probeen

has

termed
one

"

bald-headed

sky," or
buried

in

have portraiture while The the

side of the face and

is

in shadow in tone.

other is blank

lacking
medium

safest

plan
ends

to

follow

to construct
a

the

major portion of
reservingthe
with Take The
"

the

picture in
scale

tone,

of the
a

for

emphasis. This, however,

is

is not

method
motto

which

popular
"

the author, whose

a

is, in general,
"

chance," rather

than

Safety first."

safety
a

first

"

idea

questionably un-

results in

safe and

comfortable

existence, but flat, stale and

"

it lacks

excitement,
art

becoming
as
a

in unprofitable, of

in life.

Better
"

fiftyyears
; and

Europe

than

cycle of

Cathay
and

it is certain
most

that

the strongest
structed con-

also

the
at
one

pictures are exquisite

or

end

the other
82

of the

scale,the

VALUES
$f~

lightor
case
or

the
use

dark

values

being
to

reserved

in each

for

in small areas,

give either weight

the general
"

brilliance. The
term
"

key

"

is used

to indicate

character other

of the values
a

words, the pitch ;

one
a

picture or, in picture in a high key

in
a

being
below

which

has

no

large areas
gray,
to

of shadow
one

lightor

medium

and
no

in

low

key being so adjusted as

of

have

large spaces
indicates

bright light.
of any

medium

key

the
in in

absence

or strong lights

strong darks

large measures,
which is

and

full scale of the

printis one

the entire gamut the

areas

employed,

of

printingmedium lightand dark being

The
on

distributed

with

formity something approximating unithe

throughout key
has tremendous effect of the Our

scale.

choice

of

influence will be
are

the

psychic
we
are

as picture,

seen.

racial associations
to

such

that

accustomed

regard light as
darkness the
as

cheerful

and fact

and agreeable,

this depressing,

being shown
word
"

by

ordinaryconnotation
the
or

of the

gloom," which is commonly meaning "melancholy," whereas

refers simply to significance
For

regarded as primary
darkness. artificial

dusk
we

thousands

of years,

before

had

FINE

ART

OF

PHOTOGRAPHY
for

light,day
but

was

time
a

working
of of

and

ing, huntsavage

night
the

was

time

perilfrom
the

beasts, the

added
dark power,

terrors

imagination
of

peopling

with

malignant beings
fear.
in
our

superhuman
man

for the
a

religionof primitive
Thus
minds

is
came

always
to

religion of
associated

darkness with

be

discomfort

and

danger,
have

and

the

thought
fear
room.

still persists, as which

many

is shown

in the

instinctive
a

children

for

dark
to

Therefore, when

the artist wishes

convey

an

impression of
a

sorrow,

melancholy
when

or

depression,
purpose is
a

low

key
is

is

selected, and

the

to

suggest lightor

brightness or
which
in

cheerfulness

high key large

which
almost

preferred,as
of dark,
of

is evidenced

in the best have any

portraits of children,
area

rarely
sunny In

and

landscapes,
fact, it is

are

similar

character.
convey
a

impossible to
a

real

suggestion
is
ployed; em-

of

sunlight unless
the

high key relatively

to

attempt
The the

suggest

sunlight by
said, does
eral gen-

strong
to not

contrast

is almost

foredoomed inevitably
as

failure. feel that

writer,
medium

has been

key
the
84

is of much

value; it has neither

sparkle and

bril-

VALUES
liance the of the

high

nor

the

depth
much
avoid of

and

richness

of

low, though it has been

who

used

tograph by phofull-

wished

to

the banal
the

scale of is the the

effects

characteristic
to

earlier
of
now

days
men

art, and

the

researches
we

such have

largely due
The and

the

knowledge
the
camera

of

of possibilities

in

pression. expictorial

medium is used in

key, however, chiefly by

either On
a

is

committal, non-

those

who

fear
or a

to
more

trust

themselves

stronger
the
other

delicate full

expression.

hand,
the mands debe
a

the

scale, using the entire

most

palette,is
of

strongest and
that
master

vigorous
It is the

all, and
it shall

the

artist

employing

of his medium.

expression par
as

excellence

of

strength and vigor ; but

key
used into muddiness, with

the

high
the
run

key,
full into

used and

unskilfully, deteriorates
the low

into
so

ness weak-

does

scale,unless

comprehension,
true not

harshness, this being

but also

only

cally artisti-

for technically, and

it demands and
an

sion preciexact

of exposure

development

adaptation of both to the printing medium. Some truthful subjects actually demand a rendering, but they
are

the
85

ones

whose

beauty

FINE

ART

OF

PHOTOGRAPHY

is

inherent,
is

and,
rare

though
such
a

they
one

may

be

very

it lovely, value.
snow,

that

has
case

great psychic
of sunlit

An

instance

is in the

for if the values

or

be in the the least

slightest degree
bit too dark
or

off
too

if the

print be

the exquisitejewel-like light, beauty

once.

of the
was

subject disappears at
one

The in

writer

at

time

much and

interested attained has

come
some

subjects

of

this

character

skill in the
to the

ing renderthat of

of them, but

conclusion the

sunlit
the

snow

is not is to

indicated
an

when

desire it may

artist

arouse

emotion;
may

be

exceedingly
aesthetic truth of

beautiful

and

have

great

merit, but the very

appearance

fact that it

requires

necessarily precludes
less, craftsmanship. Neverthe-

nitely defisuggestion and places such representations in the realm the writer
every

of

would
of

strongly recommend
make
an

that

student of
snow

photography
what
it

especial
make it

study
look claim

under

sunlight; if he
is
"

can

right
"

like
a

he and

may he

fairly
will be this

to

be

skilled craftsman,
other

able to render is

thingsequally well, for

difficult

probably
It cannot

the be

most

problem
one

of all.

said that any

86

part of photo-

FINE

ART

OF

PHOTOGRAPHY
best of

accept the popular judgment.

to

The and

guide
values

the

study
and

of

light and

shade

will be found black

than
nearer

in the works

of the great masters, for this purpose

white
not

being merely
the

better

color,
to

because

they approach
but is removed

the

photographic expression
sensuous

because chiefly and

It

element remains.

only

the

intellectual
necessary
means

is also

to

study

values

at

first

hand, and

this
Few

forming

the habit
a

of

servatio ob-

persons

reallyobserve,
the of
a

vague

general impression, being

average

most
scene

that
;

the there

individual
one

gathers

and

is but habit
once
"

way

to to

acquire this
observe.
that look go

most

imperative painter
made
it for
rectly cor-

namely,
told

great

the

writer him
to

practicehad
at

possible for
twenty
from
any
never

any

landscape

minutes

and

home

and

paint it
notes

memory,

entirelywithout
it should
as

of

kind did

"

though

be

added
saw

that

he ways alsult re-

paint it exactly impressive.

If

he
to

it,but
the

introduced
more

modifications

make

anyone

will make
any
scene,

definite

effort the

to

look

carefullyat
of

memorizing

features

it

as

fully as

pos-

VALUES

sible,and
will
can

endeavoring
be Constant

to

recall

them

later, he
amount

probably
remember.

surprised at
the
the

the

he
orizing mem-

in practice memory
same

such
very

will train

to

high

pitch,and

will at This

time

train

the

servatio ob-

should practice
or

not

be confined

to

any

time particular
on

place, but walking

will

should
or

be

carried
at

at all
on

times, when
the

riding,
such
on

home,

trains, on
The
a

street, in fact, anywhere

soon

at all.
a

student

reach

point

that

glance
the
or a

will suffice to

impress

his

memory
a

important

facts

concerning
to

either

face
a

and, locality,
memory

in addition and
a

acquiring
power

retentive

facile
a

of observation, he

will be which

storing up
to

collection of other

with impressions he

compare
counter, en-

impressions that
such
a

may

afterward
of

collection
to

being

inestimable his mental the

value. powers of many

In

addition
will also

developing

he

be benefitted

by

sight

things which, interesting

in observation, would and the effect have

but

for his
noticed, un-

growth
his

passed

of this will be to enrich

to appreciation, to

broaden
more 89

his mental

horizon,
him.

and

make

the

world

pleasant for

IV

SUGGESTION

AND

MYSTERY

SUGGESTION
are

and

mystery,
and in
one

though practice
merges

not

tical, iden-

closely akin,
to exact

it is often
into

impossible
other,
the

say

where

the

point Broadly

of

contact

being

what some-

indefinite.
may say

speaking, however,
consists
of

we

that

mystery
for the

in the

affording

an

opportunity
whereas

exercise
involves
or

imagination,
the

suggestion by
direct

stimulating
means.

imagination
if
to

indirect

gestion, Sugpreferred
spectator,

successful,

is

always
because

to

be

delineation,
the

simply
artist's
of

the

grasping
a

unexpressed

idea, experiences

glow
he
is

self-satisfaction,
a

precisely
chess

as

though
and
been

had
more

mastered

difficult than
to

lem, probhad

impressed
down for

if the grasp

idea

fully put
One

him

without

effort.
one

remembers than

longer
those
of

the

chess the

lems probanswer

solves

which

has

been

given.
may be of
90

Suggestion

many

kinds,

from

the

SUGGESTION of

AND

MYSTERY
of line to

simple
abstract

use

given type

the

more

sort in which of

the fundamental

ing animat-

idea

the

picture is suggested
may be

and
any

not
tent, ex-

expressed,and
these two Woods

used

to

almost

forms

in being exemplified

The

of
The
.

Colonos
first

(page 66)

and

Finis

(page
of the
was

128)

suggests, by the majesty of the

vertical

line,the strength and

whose
"

grandeur
author,

great dramatist
the second
the sublime
That When

birthplaceColonos
to

suggests
terror

the

at

least"

of
that dreadful

Day

of

Wrath,
and

Day
away.

Heaven

Earth

shall pass

And

here, by the way,

of

is
of

an

tration interestingillus-

the

power

the

imagination. elementary
the
is
one

To

anyone of

with

even

the

most

edge knowlof
a

evolutionary processes,
of

idea which

cataclysmal Day
reason

Judgment
to

the

simply
effort

refuses

accept; it is rejected
Yet
we are

as

absolutely unthinkable.
an

able,

by
our

of the

imagination, so
the
a

to

project
those
as

appreciationinto
such
an
a

minds

of

to
ceive re-

whom

Day

was

certain from

fact this

to

actual

stimulus
91

picture,

FINE

ART

OF

PHOTOGRAPHY
would
to

though not,
be

of course,
were

so

strong
not

one

as

received

the

reason

operating
power did

inhibit,in part, the imagination. This

of

inheres projection

in

nearly
be
of

everyone;

it

not,

suggestionwould
other
may In

impossible.
different
forms of

Two

examples
also be

suggestion
as

given, and
Moscow

the there
a

first is stands
woman

follows
statue

the

city of
man

representing a
the Great

dragging
and the been ill of
out

and

child from
Peter

the water,

story is this
a

Czar and

had

fever,

while

convalescent
advice of his

walked

one

day,
steps

against the
led
woman

physicians. His
he
saw a

to

the and

river, and
her

there

peasant
water,
way

child and
to

strugglingin
the
cross.

the

for
as

it

was

winter

ice had

given

they attempted
great
czar

Unhesitatingly
and
to

the

plunged in,
the
two

after

hard

fight brought
shock
died. look
at

safe

shore, but fever, and

the he

caused

recurrence

of the

It is difficult to believe that anyone this statue and and know

could

the story without

being thrilled

stimulated

by

the
the

thought
bounds

of of

and this self-sacrifice, that possibility

it is within effect

the indirect
92

of the

czar's

EVENING BY Brom

BREEZES

J. S. FOWLER
a

Bromide

Enlargemei

FINE

ART

OF

PHOTOGRAPHY
and the other virile, of
a

the

one

concrete,
and

vigorous
as

delicate but
none

elusive

the

perfume

flower,

the less potent to stimulate and

to
arouse an

the

nation imagihas

memories. artist
can

A do

writer

said that
one

the most

is to make

think, all
seen

at once,

of all the finest

thingshe
not

has take
are,

and

heard

and the

read, but

this does

into

account

imagination,and
come

there
to
us

further, racial memories,

thousands of years:
hearts

down

from

So

to

the land
sure

our

we

give

Till the And Us That

memory,

magic strike,
use,

and

love make
"

live

and

our

fields alike
than
our

deeper
our

speech or
sway,
we

thought,

Beyond Clay

reason's

of the

pit whence
its

were

wrought

Yearns

to

fellow-clay.
ancestors

For in
caves

many riven

thousand

years

our

lived

in the hills

by

nature's
storms

forces, or
under hours
a

sheltered

themselves
to

from these

kindly cliff;and
darkness
were were

people

the

of

hours

of terror,

as helpless they

againstthe

beasts. of prey
94

and

even

more

SUGGESTION

AND

MYSTERY.
of evil

helplessagainst the by
so
a

powers

conjured up impressions
to

their

own

imaginations.
never

The and

gained
child
or

have
an

left us,

this

day

imaginative
dark, where
the

person every

may

suffer
seen

agony

in the
a

vaguely
outlines

spot

than trifle lighter

a

surrounding
and
the

ness darkare

is

thing of fear, and

into
"

familiar
"

transformed

unknown

therefore Gnarled
seen

doubly
Monster

terrible in
"

dangers,
the

like

Croquemitaine," outflung
for the

which,
of
an

was closely,

but Let
we us

branch
moment

old

oak
row

tree.

return

to

the
it

of trees

spoke
and
are we

of before, but
are

this time

is before
east.

dawn,

looking toward
seen

the

The the and

trees

barely sky,
than

in the
a

outline field between

space
mass

against
us

deep
them

blue shows value

and
as

only

vague

slightly lighterin
the trees.

the black

of

Here

is

mystery, for the shadows

of

the trees
or

might
to

conceal it

anything, either earthly depends

on our

supernatural,and

nations imagi-

people

the

darkness

with
grows

whatever

we

choose.
as

and
to

the

Gradually the sky lightincreases vague

which
we

lighter, outlines begin

be

appear,

may
95

take

to

cattle,or

FINE

ART

OF

PHOTOGRAPHY

men,

or

houses, for the

shapes are
As what the
we

distorted

and

seen. nothing is clearly

light grows
took
we

still
men

stronger
were we saw

we

find that

for

the reallyfence-posts,
were

cattle
of

thought
gestion sug-

in fact

clumps
clear

weeds, and

is lost in the

lightof day.
and

This

givesus
lie;in
breadth
vision. of
one
seen

hint of where

mystery

suggestion
and
in in

vague

outlines,in dark

shadows,
than
and

of But

drawing
there
is
a

rather

detailed

greater
The

higher form
we

mystery than
vast

this.

world

live in is
forces
are

mystery, and
that
on

superhuman
the

in the storm, in of
snow covers

in sunlight,

the white

ket blan-

earth, in the springing

than
arms.

of buds

all else in the The

man

plant and tree, but more child lying in its mother's

can
see can

who
"

and

feel this great mystery others

see

of life he is the It may

one

and

also make

it
"

great artist.

is be

impossible to secured, but

tell
two

fully how
may

mystery
be

hints

given,

dealingwith darkness, the other with light. Suppose the pictureis of a dark interior,with the principal objectalone clearly lighted.Then if the chief objectis but vaguely outlined, the
96

SUGGESTION

AND

MYSTERY
the of

edges being diffused,

"

and

rest

the

ture picbe

except
"

for what

essential details may

with but
a

present

is

kept dark,
the

trifle of

gradation in
well the in

shadows, mystery
we

mystery
inheres

will be
in

tained. at-

However,
as

lightas
that white lens

darkness, and
have

will suppose

picturewe
not

In mind

includes
a

house

in sunshine.

By using
the

soft focus
,

(takingcare
the

to overdo

diffusion) keeping

negative soft, and printing in a high if the work is well done, key, it will be possible,
to

suggest something of the shimmering

of

tery mys-

sunlight.
to

Returning
the
we more

the

matter
more

of

suggestion,as incomplete or
the spectator motion mind the

concrete

and

easilyexplained,
any

may

say,

that generally, is

unexplained motion
has its and
an

for suggestive,
see

naturallylooks
source

to

where

whither

it tends; the

always
of the
was

desires

explanation, and
for itself.

if denied

it will fabricate
an

one

Thus, the sight

the
see

objectin

motion
to

through
look
to

air

causes

person

seeing it

whence

it
90

thrown, and in Evening Breezes apparent

7

(page

the

blowing of
97

the tree

suggests the

FINE

ART

OF

PHOTOGRAPHY
idea
which is reinforced

presence

of

wind,

an

of the clouds by the position of the horizon

and

by

the

angle

line.

One what
if
we we can

of the strongest factors in

may

suggestionis
for reality,"

call

"

the illusion of

persuadethe spectator to imagine that he is looking at the actual objects themselves of them rather than at a pictorial representation
he will be
more

apt

to receive

and

act

upon

any

wish to convey than which we suggestion may obvious that the thingbefore when it is entirely of nathim is merely a symbolicalpresentation ural an objects. In endeavoring to convey the first effort must be to illusion of reality of values, for if correct a secure relationship the mind is strongly stimulated, this is done
even

at

times

going

so

far

as

to

receive

an

impression of color, although

in the

no

color

is present

picture. importance
drawing,
his
as comes

Next

in

the

matter

of

definition,or
must

and

the

photographer ness sharpbe the

be
as

on

guard against excessive againstexcessive

present
seen 98

well

diffusion; the
may

aim

should be

to

as

nearly as by

qualityof

definition

the eye,

erring,if

SUGGESTION

AND

MYSTERY
much

at

all, in favor
than

of

slightlytoo unpleasant

softness

rather

in the other
so

direction, for excessive

and

diffusion the eye The

as

is not

repellantto
the

excessive

sharpness.
some

third of

factor, which

think the

most

important print.
"

all,has

to

do

with
to
"

size of the of natural in

parison com-

We

are

accustomed

think
as

objects

men,

houses,
ourselves,
to

trees
even

large

with appear
;

though they
reason

may

small the its mind

own

the

eye

by
the

of perspective of the eye

at

translates
terms.
are

record in

into

Further,
accustomed
to

looking
to
move

natural eye, with

a

objectswe
we

the

and the

have of
or

come

associate
So

this motion

idea
4X5

magnitude.
even

when

we

see

print
the

8X10
to
an

inches, with
inch
or so

men

and and the

eye,

houses

reduced

in
can

height,
grasp the

whole

print so

small

that

we

entire
we

picture

space

without

moving
of

realize at once,
are

without
a

conscious

effort,

that and
we

we

dealing with
is the
no

collection

symbols,

there make
eye

illusion

of
"

reality. If, however,

16X20
move or

print large
upon
to

20X24"

the

is called the

from
to

point
take

to

point

of

picture space
99

in order

in

FINE

ART

OF

PHOTOGRAPHY
the mind is stimulated

the

whole

composition, and
the

by
the eye.

'action of the is also

the
an

muscles of
to

controlling suggestion produce

an

There
to
arouse

element
and

tending
illusion is

mind

of

in reality
we are

the fact that the

accustomed
two to

print itself
see
a

larger than
and
are

graph, photogether, toto

these

factors, operating spectator

potent in helping the

and

forget his surroundings picture. Therefore,

values such
correct

lose himself
to

in the the for

it is desirable
themselves may be

have

within
as

except

falsification
to

able, desirpictorially of
can

have

some

diffusion
as

outline, and
well be

to

make Of
has

the
course,

print
from
to do

large
the

as

done.

aesthetic merit
;

standpoint, size
pattern and
a

nothing
in

with

print

quality may
as
a

be

as

in satisfactory in

small
more

large one
for

"

fact, they
shows

are

print likely
in
a

to be most

so,

enlargement
manner.

up So

defects that
a

astonishing
in

to

the be the

aesthete and

the virtuoso

size is not

thing to

desired, but

effect respect of pictorial far the

more

large print is by

impressive.

100

ART
ent

OF

PHOTOGRAPHY

times

of

year,

and, becoming

thoroughly
a

acquainted
manner as

with
to

it, photographs it in such

the

express

thing
shows

that the

makes character shows

it

precisely what exactly as

soul the

it is, and

good portraitworker
A

the

of his sitter. in the

photograph
in the

of this kind, be
or

taken

Berkshires, would
taken
a

never

taken misthe
a

for

one

Cumberlands

Rockies, and country with

person he

seeing a picture from

is familiar he
may

which

will at
never

once

recognize it, even

seen

though

have

the

particularspot portrayed.
that of this represents
an

It will be
on

realized

advance

the

first kind

work,

for

it is

quite possible to
true

stimulate

memories them
an

and

associations, and

through
to out

emotion, by

tion. interpretaquite as
apt it, for it

The
go

worker interpretive without

to

is
as

his

camera

with

is his custom and for

a

study

the

country thoroughly
weeks
or

prolonged period (often attempting

thing
any

months)
and
from

before

serious work,
to
come

it is no
an

unusual

for him

back

expeditionwith

his outfit,not when from

having

exposed a plate. He knows, just where he is going and

102

out, starting
what

angle

LANDSCAPE
he

WORK the
are

is

going
and

to

photograph
conditions

scene

he

has

in

mind,
when

if the

not

just right
not

he reaches
an

the intended
As in the V
an

spot he does

make

exposure.

it may illustration,
is the

be said that Mist result

alley (page 40)

of the

of three
more

years'study
in mind

and locality

three The
he and

years'consideration
has
a

of the

negative.
which
years,

writer has had

group

of trees
for
two

under
he

consideration

of which

hopes

to

get

successful

tograph phoof

in about

six months

from will be
In

the time

writing,for
the

conditions

then

right.
of this with He
any

(3) Inspirational Work.

sort

work

photographer is not
of

concerned

particularsection
out

the

country.
in

starts

with

definite purpose
a

view, and

his aim
to his

is to find idea and

in mind.

landscape which
to express

will conform the emotion

help him
The
a

he has

result, when

successful, is
it has
not
as no

questionabl un-

picture, but
it does insofar in
some

definite
any

landscape character; specialplace except

country may
of the world. work be found

express

the

type of

definite section
that

It will be understood is at
once

rational inspithe

the

highest and

103

FINE

ART

OF

PHOTOGRAPHY

most

difficult class of

landscape photography;
that the his worker in this

and

it may

be

noted
to

styleis more by
of

apt

modify
of the
matter

platesand prints
"

hand

than
no

either
easy

others find

partly

cause be-

it is

to

just the
to likely

sort

and landscape required,

an

partly because
is
more

the

stimulatingof
a

emotion from

mand de-

departure
is,indeed,
more

actual
or

fact than

is the

case

with There

either record
a

work. interpretive

type of photographer who

than
any

indulges
those

in

manipulation
it is

of fair

mentioned,
as
a

but

perhaps hardly
at all.
a

to class him custom to

photographer
around with

It is his
until
to

wander

camera

he

finds

some

arrangement
then

which
to

conforms

sound

composition and
until

photograph it,
plate
emotion and the
or

afterward
or

manipulating
some

either
or

print
is suggested,

both

thought

when
sent out to

title is devised
as

print is
of
are
a

exhibitions of the

an

expression
so

mood.
very

Many
fine
"

results
are

produced
under
than it will

also,many

not

"

but work

of this the in
a

type

should
of

properly
to

be

discussed
rather

heading
book

draughtsmanship
104

devoted

photography, so

not

LANDSCAPE
be considered further record

WORK

here,
is

nor

will the

first

class, since
which
every

work

phase through
which is

photographer
every

passes, of any

outgrown
true
more

by

worker

and ability
be
no
a

artistic

impulse. There point in endeavoring

to

would
to to

stimulate

worker

pass

from

record would rather

interpretive
trying
to

photography
stimulate
a

than

there

be in than

to

child to walk

creep, he also

for, given the power,

cannot

it is

something

that

help doing;
the desire. shown The
in

if the
vast
our

power

exists, so
the

does

majority of

tograph pho-

exhibitions,however,
due classification,
to to the

belong

within

the first

tendency already mentioned satisfyingany

insist that result

accept
of such be

as

tically artis-

which

is aesthetitions exhibiof of

ciallypleasing;did the judges

a

photograph, to
show
an

worthy
walls

acceptance,
our

must
rooms

idea, the

exhibition

would with
It
a

present large areas

frames that
most
an

of

empty
and

spaces,

few

to

be

seen

here

there.

is true

of these

photographs have
for

their

originin
and

enthusiasm
this than

effects

of

atmosphere
them
105

but light, work

does not

make

less truly record

FINE
the

ART

OF

PHOTOGRAPHY
lies

ones

in which

the interest

merely

in

graphica topo-

features.

Among
whose

the

American

workers
author

with
W.

scape landE.

prints the
Annie
most

knows,
and

Macnaughtan,
Kasebier
are

Brigman,
and of

Gertrude

completely and
work Mr.

fullyrepresentative

of the second

third classes of

tograph pho-

The varies between

and

Macnaughtan
the and Mrs.
not

the

and interpretive of Mrs.

rational inspi-

that

Kasebier

Brigman
their

"

who, however, frequently if

variabl in-

use

figuresto assist
"

the

expression of inspirational, quality

of

ideas

is

almost instance

purely
a

showing
So

in

each

rare

imagination.
our

discussion and

will be

confined
;

to

pretive inter-

work inspirational and

fast

and

since there

is

no

hard

line between which

be

the

two,

and

also since the the worker and

difference
can

exists is inside

neither

taught
may

nor

pressed re-

(though expression) our

classes at the
be
same

bad

education

retard
cover

its

consideration

will

both

time, for it will necessarily

the

restricted

largelyto

objectivephase

of

photography.
106

COUNTRY
a

ROAD

From

Bromide

Enlargement

FINE

ART
each

OF

PHOTOGRAPHY

named,

of them

having

exerted

dous tremen-

influence

for The

good
mood
on

on

the

thought

of his

fellow-men.

or

emotion

aspired to
ment, temperaothers vote deof

will,of

course,
some

depend

the artist's

workers
in

pression finding their highest exor

sadness

pathos, whereas

shun

anything approaching melancholy and

themselves
to

brighter, happier aspects

nature,
former work. is
"

and
are

it is
more

generally assumed likelyto produce

said that
a

that

the

lasting

This

may

be true, and, in fact, it

a

ably prob-

it has been

theatre
but
at

audience the
same

would

rather

cry

than would

laugh
"

time, the author

which
exerts
a

point out

that

anything

an

unfavorable

psychic suggestion
on

exercises thus

depressing influence
the

the
a

tor, spectaable favor-

whereas lowering his vitality,

suggestion raises
rendering
to

vitalitymarkedly,
more

the

individual
work.

influenced

able
not

accomplish his
and

Still,it

must

be

that forgotten

there is a vast

difference

between

tragedy
effect

pathos,and
do
not

the the and

great dramas
same

of

Shakespeare
as

have

depressing
stories of the darker

the mournful

morbid

Poe, despitethe fact that both show

108

LANDSCAPE
side
to be

WORK
The

of

human
an

nature.

conclusion

seems

that if

artist is and

great enough in his

of he

sight in-

into nature
he
can

in his power

expression,
to

choose
man

his

where subjects
do

will;but the
a

lesser
subtle The effort of

will

well

to

adhere

more

his material. aspect in selecting

artist, then, will in general make

to

an

choose

and
are

to

reproduce

such

effects

landscape as
given
which

productiveof
;

the character
no

of emotion

indicated

and, though
such
hints

rules

can

be

will make
a

tain, expression cer-

nevertheless

few

may
are

be

afforded,

which dealing with principles

in all

fundamental

graphic

art.

Joy, pleasure, happiness

are

and of

similar

tions, emo-

expressed
It

in terms

light and explained

darkness

pansion. ex-

has

already
cause
us

been

that
as

our

associations

to

regard
is

and depressing, that

sun

the

reverse

equally trueThe also of

on

lightis
is the

associated
not

with
of

happiness.
light but

giver

only
This
of
men

warmth,

of comfort, and, food. minds far

as

through
fact has that

its action
so

of plant life,

impressed
earlier
sun

itself
races

on

the
so

some

went

to
109

worship

the

itself,

FINE
and the

ART

OF

PHOTOGRAPHY
influence
of this idea is among
as races so

widespread
fact that

seen

in the

it obtained

far
and

separated geographically
the Aztecs claim So be the

the

Parsees
some

(though, to
light on

be

sure,

gists ethnolo.

that the Aztecs

originatedin Asia)
our

effect of

minds

must

not

ignored, and

it will be found is most

that in expressing

joy

high key
with
-a a

effective,especially
direct

if combined

feelingof
under

sunlight.
of

Further,
or sorrow

person

the influence

pain

or

distress
muscular

unconsciously
contractions fact which
ever
or

expresses
a

his and

in feelings

bowed

drooping attitude,a by
anyone of

will be realized the

who
a

has

experienced
the
are

ministrations

dentist.

On

other

hand,

health, comfort

and

happiness
and
rounded

expressed
tions mo-

through vigorous,expansive
and

buoyant
forms As
a

attitudes, and
this

in art
quence, conse-

naturally carry
the
more

suggestion.
aims
at

artist who emotions

stimulating the
use

joyous
oak, and

will make such

as

of domed

trees hills, full-foliaged

the

maple

and

the with

cumulus

clouds, in combination
once

at this relationship sunlight,

making
indicated

it clear that

picturesof
no

the character

LANDSCAPE
best made in late

WORK

are

spring, summer
to

or

early
a

autumn,

whereas sadness
or

pictures meant
will be secured

convey

feeling of
bare

in late the
tend

tumn, au-

winter,
are

early spring, when

and
more

trees

of leaves and
to

the cloud
to the

forms

less

to the round
are

flat;or, if such pictures

trees

be

made

in

summer, most

of

pointed type
cypresses, valuable association and with aid. of

will be found and.

useful, cedars,

hemlocks,
A

poplars furnishing
is found in the

potent factor
and of
summer

spring
and

with
and years

growth
winter
of false
as

development,
death and

autumn

decay, taught
us

for many
to

training have
abnormal and
"

regard

death of
"

an

terrible

thing

instead

as

it

actuallyis
no more

perfectlynormal deplored (when

of events

function it
comes

of

life,

to
course

be

in the The

natural

) than

birth itself.

poet sings:
The

melancholy days
year,

are

come,

the

saddest

of

the

Of

wailing
brown

winds and
sere,

and

naked

woods

and

meadows

and does

there not

are

few
a

in whose

minds
even

this sentiment

find

response,
ill

though

we

may

FINE
know that

ART

OF

PHOTOGRAPHY
of the flowers

the

death
more

is but

the

precursor A mind fact of

of
a

of

gloriousrebirth.
should
be

which

constantly
aims
at
a

in

the

photographer who the larger emotions

great value
"

the stimulation
low all zon horibut

is that

is of

"

is, in
space.

fact,

imperative
the
to

in

suggesting
the lower

scape If the landor

occupiesbut picturearea,
sky, a
with
vast

quarter

third of

the remainder
expanse of

being given over

country is
a

the

at

once

suggested, but

the effect of
above

foreground picture,
of the
"
"

the horizon

the middle

constricted is necessarily print, and confined." This

ined cribbed, cabto

is not

meant
to
a

decry
out

foreground pictures,but merely

that
a

point
the

high
and

horizon
open

cannot

convey

feelingof larger
parison Comwith

large

country, and
within
a

that
small

emotions

rarely exist
of A Hillside Meadow will make

area.

Pasture

(page 54)
the

Mountain

(page 216) and Meissen

clear
a

(page 178)
of space Calm but the and

greater

sense

resultingfrom
peace
are

low

horizon.

neither

joy

nor

sadness,

partake somewhat expression of

these

of both sentiments

emotions, and
is found
at

112

LANDSCAPE
its best afternoon and and

WORK
"

in the

evening
the

hours

of

spring, summer foliageis

to

early autumn,
the

when

the

still on

the trees, but

light is
here labor.

ginning be-

fail,and
with

association
of rest
warm

is that The

connected

the time and

from

long
the the

shadows

the

afternoon of repose,

light
but

suggest the
grass

approaching
the of leaves sadness and

hours
on

and

the
comes

trees

prevent
from
is but the
a

thought
of

that the

suggestion quiet and lightin

in the the

decay,

result

restful

impression.
hours that is very it is

The

quality of
to that

morning

similar
to

evening, except
of

apt

be

cooler,
to
to

though
the the
camera

this factor, which

no

is of

importance

painter,is

particularconsequence
What
does is the
on concern

photographer.
worker,
there is and
to likely

the

however,
be dew
mist

circumstance
in the in
on tumn au-

that

the grass

morning, ground, evening

often very

in the

air, and
frost

there

will

possiblybe
combining
from
to

the
an

these

facts

suggest

entirelydifferent
hours.

mood

that

given by

the

Further, though it is possibleto manipulate

exposure,
8

development
113

and

printing

in

such

FINE

ART
to make

OF

PHOTOGRAPHY

fashion
or

as

the

morning
so

appear

the

ning, eve-

vice versa, make

the

to do

is insincere,and

will

perhaps
the

to picture less satisfactory

artist himself, for

not to

it is

desirable, in photography
the truth
more

deviate

from

than that

is necessary.
a

it sometimes Still, be

happens
is desired

chosen

spot may

quite what

in every

respect except that the proper

be secured
be and in the

angle of
and

lightcannot
the

afternoon,
expose

photographermay
the

obliged to
secure

his

plate in
for

morning
and the

the effect

by
for

printing deep
the both
same.

choosing

the

required

color

print,for
and

quality of negative
and

morning

evening renderings
(page 228)
are

is the

Sycamores

Leylet
the

el

Wahshah

(page 304)
different

typical of
of these be
a

tive nega-

required, and printed in

that
a

either

pictures,
tory satisfac-

key, would

of the other time of day from presentation To suggest evening, the print represented. be in
not
a

should
should should

low

key, the

detail in the shadows

be too

clearlyseen,
be

and This

the
means

outlines that
a

be

diffused. slightly
lens

soft focus

should

used, the plate should

"

be

under-exposed slightly
114

or,

preferably,un-

FINE

ART the while

OF

PHOTOGRAPHY

when black

light
a

is

fading,

blue

appearing

brown these

still retains
reasons

its characteristic

look. will do
to

For

the
to

photographer

well, in attempting
a

suggest evening,

employ
the The

toned

support for his image and

itself brown hours
of
an or warm

to make

image
from

black.
very

early morning appeal

an

carry

ferent difnish fur-

those

evening, and
the
to

inspirationfor
In

entirely different
case

class

of work.

the former

rapher photogdesire
to
or

is show

more

likelyto

feel and

the delicate,evanescent

effect of mist The

the gray in this

those

lightof spring.
are

results obtained

manner

less

decidedly peaceful than

are

of

the

later

hours, and

perhaps

less tent po-

deeply moving,
in

but

they

are

nevertheless

evoking

memories
mood.

and
If

associations,and
the

in
are

stimulating a compared
or

evening
be
to

hours

to

the the

deep,
morning
of
as a

rich
may

quality

of

piano
to

organ,

likened
a

the

delicate

notes

violin, or

light
full

and

charming
As has will be

aria
been

distinct

from

chorus.

said, the quality of the

the
same

negative though

much

in each
a

case,

it may

perhaps

be well to allow

little

116

LANDSCAPE shadow
a

WORK
^

more

detail

to

appear
to

when have

working
the
any

for

morning effect, and

a

tion definimist softer

a more
one

trifle firmer
to

"

partly because
the outlines
seem

will tend
in the

make and

print,
is darker

partly
more

because

delicate
which
to

printappears
and

softer in outline

than

vigorous.

It is well

white stock, on a print in a blue-black thus suggesting the cool light of morning. The found middle
so

of the

day

will not

generally be
as

either the sometimes

for inspirational work satisfactory earlier or the later hours, but it

prove

will

the

most

desirable
the

for

pretive inter-

photography.
are

However,

shadows the

shorter

and

there is less relief, and than when the

sun

light
and

is

harder ordinarily

is nearer
ten

the
two

horizon,
are

so

the

hours

between

usuallyavoided
that
near

by

the

worker. pictorial
of the

It will be found
a

the middle

day

fairlytruthful generally more

later,and A
an

of representation desirable than

the values
earlier

is
or

either

Summer

Landscape

(page 78)
conviction

is

admirable

illustration of the

carried

by
at

perfect rendering, this picture

same

being

the

time
117

good example

of

FINE

ART

OF

PHOTOGRAPHY

sound, though
This

not

inspired, landscape photography.

a

is

unquestionably
shadows,
far too the
eye

sunny

mer sum-

day,
most

and

especialattention
of the render lead
a

is called to the feature The

which

transparence
workers

dark.
to

long
of it is

lines of the road

trees

the group

and

buildings in
the the
of

the distance, whence the

trees to

carried back trunks

across

by

light of

sky,
on

and

is drawn

to

group

the

right, the lying

is
a

of these the

leading it
"

the

shadows

foreground
This of

and

the arrangement

complete. high level

picture,therefore, combines
sound tion, observaany be

craftsmanship with
cannot

and, though it

said to bear has much

to

it nevertheless great inspiration, and below

to

ing, feel-

those

who
of

are

accustomed and

look

the surface
many

thingsit is restful
dramatic this and

ing pleastain Mounin the from

beyond
effects. Meadow latter
case

more

strained A

Comparing

picturewith
we

(page 216),
of

see

that

the artist has elected for the sake

to

depart
The be
so

the truth
use

ing effect, makpictorial shadows dark

as

of

exaggerated landscape

contrast.
never

in

sunlit

could

they are

here

this lowering represented,

118

of their

HASSIM BY From W.
a

SEEKS

THE

GENIE

OF

THE

ROCKS

G.

FITZ

Bromide

Enlargement

LANDSCAPE
value

WORK desire to the the

being
wish

due

partly to
confine than allow

emphasize
to

by
to

contrast

the

strength of

lightand partly
interest the the

the

to

meadow mountains.

rather

it to wander

to

Dramatic
of truth

strength is thus
to

secured

at the expense

sion fact, and the impreswill

conveyed by
the find the
as

the

picture
of

depend
Some

on

spectator'sattitude departure
to

mind.
so

will

from

the facts

able objectionfor

vitiate the

picture'smerit
will receive
to

them,

whereas

others, concerning themselves

of nature,

less with

the appearances which is said for

"

the

sage mes-

the

print

intended
once

convey.

It

that

someone

reproached
like that!
"

Turner

exaggeration, saying:1
I
never saw a

sunset

"No,"
wish
you

replied the painter; "but

could?
true
"

don't

you

Whether
a

or

not, this anecdote

to

furnishes souls

proper

rebuke
an

those

literal-minded

who and

expect
exact

artist to adhere

always
the find

to

precise
of

of representations
we come

the facts of nature.

When

to

consider

technique
that

landscape photography, we depends on the stylein which

119

much

the artist wishes

FINE

ART

OF

PHOTOGRAPHY factors
will

to

work, though certain

constant.

probably
or a

remain

An is

orthochromatic

panchromatic plate
are

imperative

if the and

ues valit

to

be

correctly rendered,
that the

should

be

noted
no

color-sensitive
over

plate

presents

advantages
emulsion

the
a

ordinary
the
filter In
a

blue-sensitive

unless

justed suitably ad-

ray-filteris used, though

need
not

greatly
may the

increase

the

exposure.

fact, it
which
times

be definitely
exposure the

stated
to
more

that

filter five

increases that

than

required for
or

unscreened

plate is
light and
filter will results

either inefficient

else is

that over-correcting, reds

too

is,rendering the yellows and

the be
blues
too

dark.

Sometimes
to
secure

the

omitted, intentionally
the the

better

from

standpoint,and pictorial
case

this is especially
are

when

effects flat,poster-like it is better

to

desired. the

In

general,however, obtaining
true

use

thus filter,

values, and

to

of either depend on subsequent modification falsification. negative or print for necessary It is often stated that the
use

of

inates filter elimmeans

atmosphere,
case.

but
or

this is aerial
120

by

no

the it

Atmosphere,

as perspective,

FINE
function and

ART

OF

PHOTOGRAPHY
absorb

of

the

filter is to of

the

violet ultraan

enough

the violet to
to

produce
effect.
used

effect

corresponding

the

visual

The

color-sensitive
a

plate,therefore, when
the
scene

with

shows correctingfilter,
sees

preciselyas
sive exces-

the eye

it,instead
of

of

introducing an Except
it is seldom

amount

atmosphere.
it is of

for
to

cial spe-

purposes

importance
the is

retain

but atmospheric perspective,

to

able desir-

emphasize it, and

the
best

writer

therefore
use

feels that

plan

generally to
that

suitablyadjusted fullycorrectingfilter, though

it may sometimes
would

happen
prove

somewhat

lighterfilter
a one

valuable, since such

will

exaggerate

The atmosphere slightly.

one

writer

carries

only

the

lieving filter, however, be-

that

complication of apparatus
this is
for
a

is

desirable, un-

though
worker
must

point

which

every

decide

himself.

For has

landscape

work

the

panchromatic plate
over

little if any

advantage

the

orthochro-

matic, since the latter will render

any
any

satisfactorily
Whatever
as

color except

red, of which
in
a

there is seldom

great

amount

landscape.

plateis used

it should

be
122

non-halation,

other-

LANDSCAPE
wise it will be
any

WORK
$

impossible to
branches
"

record

properly
may
even

sky-line or against
Further,
even

which
may

project
be
so

the

sky
as

the

halation

pronounced though

to

lose small will

not

branches

entirely.
in

halation it may

be be

present

the
as

sky
such,

apparent
the

the effect of the

being

to over-expose

sky portion
which

picture, even
for the

with

timing,
In

is insuffici writer's method

foreground.
is the
most

the

opinion, backing
of

effective
a

preventing halation, though

efficient. It is

double-coated

plate is very
films
are

commonly
in in

said that stances circumcases

non-halation, and
this claim
is

ordinary

but justified, may

of

extreme

contrast

"

which

well arise in landscape be found

to

work the
test
so

"

they
well
As

will not
as

stand
or

either
to

double-coated

backed
a

plates.
of

the

lens, the writer

be

lieves be-

soft- focus any

objective to
of the
numerous
a

preferable
methods
of

to

the

use

diffusing the image given by

and be

corrected focal
of

lens,
to

considers

the the

best

general

length plate
"

given by
two

empirical rule

adding

the

lengths of
nine inches

adjacent
123

sides of the

i.e.,

for 4X5,

eighteen inches

for 8X10,

FINE

ART

OF

PHOTOGRAPHY
somewhat for small For and
as

etc.

For

widespreading landscapes a
lens may
bits the

shorter

be

preferable,and
of of the

isolated the

length may

be increased.

rest, the

question

type
and
or

camera

lens, the printing medium,

to whether
to

decision

print

direct

to

enlarge, must
may

be

left to the
to at
camera

individual, though it
the

be

of

interest arrived The

and the work with

state

writer's
years

own

practice, experiment.
used, for
do
to

after is
a

eleven four

of

by

five

reflecting type,
to

backed writer
on

panchromatic plates are

wishes
to

be

prepared
does
not

portrait
bother
are

demand,
kinds
a

and of

wish The

various
in

plate.
11X14

plates

developed
are

tank, and
necessary

bromoil

prints
being

made,
out

any

modifications the time

of of

carried

in the

print at
manner

inking.
tically practhe if

It is evident

that this

working

precludes duplicationof prints,but

writer seldom made
a

wishes
for

to

repeat

success,

and

prints are
enhance

sale

it will

be

found

that

the fact that

print is unique
in the
eyes

will of

considerably
the
average far of is very

its value

purchaser, though
from

the writer

himself

being

in

sympathy
124

with

this attitude

LANDSCAPE
make

WORK

mind, and
a reason.

does To

not

unique printsfor
it is
no

such
that

the been

author

drawback is his the

picture has
of
a

duplicated,nor

ment enjoyfor

fine had The

print impaired by
the
same

fact that
joyment. enfined con-

others

have

opportunity
Bernard
:"

desire
whom

for

unique prints is
Shaw

to those

George
termed among
true

has
"

contemptuously
and is not found The author

picture-fanciers

almost

picture-lovers. a always uses tripod in

exposures,

field work,
a

since his and

at
a

landscape
five-times
are

using
a

fast

plate
too

with ray-filter,
order
to
an

lens

working
hands.

F/5.5,
for may of the

of the
camera

of 1/5 held in

second,
the

long
This

the

be

seem

absurdly long
brief
ones

exposure,

in view

exceedingly
It
must

given by speed workers.

however,
that
is in

be

bered, remema

speed

work

slight

under-exposure
that tables the shadow
can

usually not

ther, serious,and, fur-

the
on

various

actinometers
are

and

ure exposto

the market exposure

calculated which will

give

minimum detail

render detail
the

but shadow satisfactorily; before

of the exposure

be secured

reaches and

straight portion

the
125

Hurter

Drifiield

FINE

ART

OF

PHOTOGRAPHY index
of An widest internal is is

curve,

that

being
the

the

correct

relationshipof
sufficient to
correct

values.
as

actinometer

usually employed,
not

the

experience
to

enable in

the worker
all

estimate

the

exposure of
course,

circumstances,
for the
sary neces-

lowance al-

being
for

made

increase It must
so

required
be

full exposure.

not
can

supposed
at

that
a

anyone

who

desires

easily become
"

fine

landscape
as

photographer
an

can

once

leap
from

forward

interpretive or
sprang It is

inspirational worker,
the who
a

as

Minerva
Jove.

full-armed
the

brow

of
to

only

Bandar-log things
and

expect

accomplish

wonderful
noble

in

minute

Something
Won

grand
we

and could.

good,

by merely wishing
and

No,
be

long

arduous the

apprenticeship must

served, but
loves

enthusiastic
as

photographer,
true

who

his work,

does
his road there
a

every
a

artist,
a

will find each

step

on

joy

and

light. de-

Disappointments
as

will be, failures

more

well

as

successes,

but
success,

failure is often
for
one

educational
may

than
scores

spoiledprint
ones.

lead to

of admirable
126

VI
WINTER WORK

IN that
is

speaking
there
case

of

winter
on

work

we

will
for

assume

is

snow

the

ground,
resolves

unless

this

the the

the

question
of

itself
at

simply
a

into

matter

ordinary

landscape
snow,

time

when
winter classes

foliage
work
as

is may

lacking.
be

Given
into

however,
same

divided
in

the that

three

landscape
and

general

"

is, record,
the
or spicuous con-

interpretive

inspirational;
that far the
more

with

difference direct in
summer

presence

lack

of

sunlight

is of

importance

than
a

work,
factor

being,
in

in

fact, practically
Sunlit
of but
snow

determining
brilliant render
matter
we

itself.
out

is

so

that
it

it is almost in

the
a

question high key,

to

successfully
the
seen

any

no

what

circumstances that
a

may
or

be,

and

have

already

low for

medium the

key

is

emphatically

indicated
a

strongest
reserved

inspirational work,
for

high
record

key

being
and

the

less
It

powerful
may,

interpretive
whether

classes.

however,
127

be

doubted

FINE
other

ART
natural

OF

PHOTOGRAPHY

any sheer

phenomenon
effect
a

approaches,
expanse
sun on

in

beauty, the
snow

of

an

of

new-

fallen

with
the

late afternoon

it, vided pro-

that

surface

has

been

broken, either

or artificially by

the contour the and

of
a

of the

ground,

ficiently sufThe

to

give
then

necessary the
most

relief.*

intense
of

brilliance

exquisitegradations
acter, stimulatingcharto

light are
and

cannot

fail to anyone

appeal
who
of

the
the

sensuous

appreciation of feeling for

the

has

slightest
that the

beauties

light,so
attain

photographer who
pitch
of aesthetic
to

desires to

the find

highest
it to his

expression will
a

advantage
of In

make

careful

study

of this character

subject.
to

endeavoring
and

record

sun

on

the

snow

it
ten

will be found o'clock hours

*

that it is best after

to

work

before

two,
are

since short

between
a

those

the

shadows

and

flat,unrethe

Foot-prints
surface.

are

exceedingly
are

useful

to

break in that
camera

monotony
may be

of made

the

They
where

advantageous
also, if
small hollow
the

they
is

precisely
the
"

desired;
furnish
in

the of

facing

toward
and where dark

sun,

they
dark strikes

spots
of the

contrasting light
and the

the
sun

the
across

print,
up

light
feet

the

snow

thrown

by the

alongside

the

mark

itself.
128

FINE

ART

OF

PHOTOGRAPHY
the

by
open

means

of

cast
or even

shadows
at

on

surface, by
the
are

water,
of the the
in

times

by

simple falling
the

weight
toward value

sky, and

if the shadows

camera

they

will be of considerable
to
secure

aiding the photographer

is
of the

desired

effect.
snow
one

Sunlit

few

types

of

ject sub-

in which
of the blank paper,

it is well to have

the extreme

lights high-

picture represented by absolutely

but
even

in

this

case

such

areas

should reserved
to

be

small; the

extreme
or

white

should

be

for incisive effect

fault
snow

the result is

apt

be

chalky, a
that

which

is

apparent
Most

in the

great majority of
think space
of

pictures.
is achieved it is

ers worka

brilliance

by
a

large
of
is

forgettingthat light,
and
that

matter

contrast,
obtained with
a

the

most

brilliant effect
small
area

by contrasting a large
in art space

of

light Light quite

of
it

darker

value.

loses its
as

as intensity

spreads,and
of
in

this is

true

as

in

physics.
snow

But

since the
on

beauty

pends sunlightdeof

the
that

delicate

gradations
is made

light,it
to

follows the

if the

attempt
130

render

lightstoo strong, by introducing excessive

FINIS BY ANNIE
a

W.

BRIGMA1S

From

Photogravure

WINTER

WORK

contrast, there
in the upper

is apt to

be

loss of
must

gradation
be
a

half-tones. of the

There values exposure,

or

ful care-

adjustment
and

throughout,

this

necessitatingprecise printing, since development plate too

the
or

development
over-exposure
or

under-

upsets the gradations in the negative,underover-

makes
too

the

total

contrast

of

the

slightor
dull

great, and
be

incorrect and
must

printing causes
characterless
be

print to
and

either weak
Care may

heavy.

taken

that
be not

any

dark

objects which
too

be

present
a

rendered

dark, this also being

case

common

in the fault, arising, as paper,

contrast.

of
secure

sive exces-

white

from The the

desire
shadow

to

liance brila

by
for

side of

of

tree,

example,
we

under

character looks and

tion illumina;

are
a

considering, never
medium
gray,

black

it is
so

at

most

should

be

represented.
From all this it will be
are

seen

that

picturesof
the

this sort The

areas

distinctly high-keyed
is
a

in character.

deepest dark
of
extreme

medium
a

gray,

larger
and

the

print

are

very

light gray,
It may

the

lights are
a

white.

be

ferred in-

that

soft, clear negative is required,

131

FINE and
this

ART

OF

PHOTOGRAPHY
the

is

precisely the
the

case;

exposure

should

be

ample,
any

development

should

be

soft,and
detracts

of chemical or lightfog suspicion by justso much from the brilliance and

beauty
For

of the

finished

print. absolutely ative imperplate

and
a

successful
to
use a

results it is

color-sensitive
person

raysnow

filter.
scene
as

The

average and

thinks
as a

of

black

white, but

matter

of

fact there

is a great deal of color in the circumstances discussion. side reflected

an

under
and

The

cast

shadows nated illumi-

the

shadow

of

objects are
the blue that

solely by
is
so actinically

lightfrom
white

sky, and

consequently have
near

intense
to

color, which
a

non-colorthem.
on

sensitive
It is true

plate
that

will

hardly
can

differentiate

they

be

separated
will be

even

such then

plate by a very brief dark object present any

a

exposure,

but

grossly

under-exposed,so
values of

it is far better to separate the shade

the The
same

lightand
and
same

by

the

use

of t!ic rayamount

filter,which
ultra-violet much the

absorbs violet.
as

proper

of will be

exposures
scene

for the
snow 132

in
more

mer, sum-

since, though the

reflects

light

WINTER

WORK weaker

than

grass

and

the light is foliage,

to

begin with, and,

is necessary the
to

the contrasts

being so great, it
to

give
in

sufficient exposure attain of

a

mit per-

shadow

detail to the

satisfactory

strength early
before
That
a

course

development,
much

the is to

have gained too lights

say,

density.

with

fast
a

five- times

and filter,

panchromaticplate, lens working at F/5.5,

for
an

about
snow

1/5 second
scene,

will be correct for

an

average
scene

though
without

open
a

snow

one (i.e.,

dark

objects)
mist

half
is in

or

fifth of this will be any winter

on

sufficient.
of

There

rarely
sunny

great

amount
so

present

weather,
other
an

the

photographer
for

must

pend de-

factors

perspective,though,
will exaggerate the effect

to

be

sure,

ordinary plate
may such

what

mist

there

be.
a

However,
a

given by using
contrast

plate is by
is

flatteningof
so

by lightening the

shadows,
reason

that,

though sunlight is apparent

shadows, the
not

of these

impression given by
sunny

the

print is
gruous, incon-

that

of

day,

but of

rather
"

nondescript sort
flesh, nor
As

thing

neither

fish,

good

red
a

herring.
for

regards

printing medium
133

subjects

FINE

ART

OF

PHOTOGRAPHY

of

this

type, platinum is decidedly the

a

best,
is not

though print
that

good
framed,

platino-matt bromide
it.
be been

easily distinguished from

be
it may
not

Indeed,

if the
say and easy,

impossibleto
used.
Gum
not

platinum
are

has
so

carbon with

not

desirable, for it is

either of those processes,

to retain the very

delicate
is not

beauty

of

the

extreme
one

and lights,

oil

recommended
"

because

of its characteristics

which, however,
branches
more

renders work
"

it very is the

ful use-

in other
some

of

loss

of

of the the

delicate

gradations throughout
is handled

scale unless
care.

the brush

with

extreme

It is, nevertheless,
of

possible to
vided pro"

employ
is
to

any

these

printing mediums,
carefullyhandled
and bromide
are

it is

and skilfully

it

merely
effect. When

that

platinum
when

easier

manipulate

striving for
consider is very the

this

lar particudull if

we

come

to
case

snow

under

illumination direct
are

the

different, for
artistic

sunlight is
greater and

absent

ties possibilitime

the technical

difficultiesare
same

less. least

Probably

the easiest and the

at the

exploitedof

opportunitiesafforded
134

FINE

ART

OF

PHOTOGRAPHY
much

work, and

he

has

attained

higher
is

pression ex-

in other

directions

than

in possible

the

one

indicated.
most

The in

conspicuous and

ment impressive elea

winter

landscape under
sense

nation dull illumi-

is the

strong

of

dreariness, of

melancholy,
when

associated

with

it,except, indeed,
case our

there is a storm

present, in which
actual fear.

feelingsmay
gray

approach
sky, the

The

dull and

leaden

flat expanse
at to

of snow,

the; mist toward

which

is often

hand,
form
a

especially
most

spring, all
effect, one

combine which aims

pressing de-

is

worthy

the attention
a

of any
in

artist who A

at

evoking
to

mood

his audience.

landscape
due of any
to

of this sort, if tal horizon-

well

with represented,

attention

lines and will prove of

the avoidance
most

bizarre forms,
a

powerful
many
a

arouse

feeling
draws
care one

melancholy, which
as

people will enjoy, play

does be the which
not

exactly
tears.

many

enjoy

Personally, the
sort

writer

for

that those for but

of

thing; he
who their

would
fined

rather dramatic
a

of

Athenians

poet

harrowing
it is not

feelings with
136

tragedy;
per-

to be denied

that the average

WINTER
would

WORK

son

prefer

tears

to

laughter, and
one

that is

the most

impressivepicture is the

which

sad, dreary, or melancholy in the

it calls forth. When there is
a

response

which

storm

abroad

the dramatic

rise possibilities

to

greater heights;for though

is

snow gently falling

quiet and
of

peaceful in
brilliance
snow,

its

suggestion
once

and

its

promise
and

when

the the the

sun

returns,

driving
to mind

in
out

gusts of wind

swirling irregularlyblotting
the innumerable lost and Even have in the been them.

landscape,calls
who aid could
is

stories of travelers died before

have reach

city drivingsnow
and

its impressive, when

we

associations

being so strong, and

country, where
sense

add the
are

ing figuresbendwind in
seen,

strivingagainst
no

open

houses
and

to

be
even

the

of loneliness

perilmay
the read far
"

become

oppressive.
present author

One has

of

strongest stories the

"

ever

stronger in
the

conception experience dory

that became the
men

than
of two

in

execution

describes

Gloucester
from
to

fishermen the
row

whose
so

separated
were

schooner,
several
men
"

forced One
137

dred hun-

miles

to

land.

of

the

hardly

FINE

ART

OF

PHOTOGRAPHY
to

more

than

boy

"

succumbed

the

cold, and
dead
man vivor's sur-

his mate

continued have bitter

alone, that the

burial

might

Christian

ashore, the
still further
sense

hardships being
snowstorm.

creased in-

by
and

The the boat

of

danger
this

desolation

given by

picture of
day
after

solitaryman
the

driving his hardly

and is be
one

day

through blinding snow,

stern, could
device
be

his mate's

body lyingin
by
any

augmented
which

whatever,
in
a a

might
never

well
so

rendered
as

photograph, though
of words. stir the and
"

well
user

by

master to

So

the

camera

who
use

wishes

deeper feelingswill
snow,
trating concen-

make

of storm

driving
he needs

his attention

as

must
use

"

on

the

foreground, and
to

probably making
Ruskin

of

ures fig-

aid his

expression.
no

is credited be

with

having

said that

picturecould
a

truly
at

great unless it contained

least
some
a

human

or figure,

suggestionof humanity,
is

and

though
of

such

statement
true

certainlynot

correct, it is
a

nevertheless
is often nowhere the
more

that the introduction

ure figin

of marked

assistance, and
case

this is than

more

conspicuously the
snow 138

dramatic

scenes.

Such

figures,

WINTER

WORK be

however, will generally have

there is

to

posed, since
a

usually they

not

enough light for

not

shot, snap-

and

should the

be

too

large or
the

they

will overpower will fall within in pure

and the

landscape
the

and

picture

the realm

of genre.

Still, even

landscape
camera

are great, possibilities

worker

is advised

to
snow

turn

his

attention rather than

to to

cloudy

and

stormy

scenes

brightly lightedones.
note

It is

to interesting

that

for

this class of

work
any

the

color-sensitive
over

advantage
be

the

plate rarely presents The ordinary one.

a

landscape
can

is almost

of entirely well

gray
a

cast, and tive blue-sensior a

rendered
as

quite as
on an

on

emulsion
one.

orthochromatic

chromatic panthe

The

only advantage
filter is in
cases

of

color- sensitive
we

plate and
to

where
"

do

not

wish is

exaggerate
of

atmosphere

point

which

generally
class

little

importance,

subjects of
longer development
a

this

ground being ordinarily foreexposures

studies. than

The when

will be is
same.

what some-

the

sun

and visible, There than

and oil

will be much of

the

is for
are

wider

choice
snow,

printing mediums
gum,
139

sunlit

since here

carbon

FINE

ART

OF

PHOTOGRAPHY

valuable, the beauty and

scene

impressivenessof

the

not

depending
medium

on

the

preciserendering of
the
we

delicate

gradations of light.
is chosen color of the
are
tomed accus-

Whatever

image

is of great
to

importance,for
blue with
on

associate

cold
our

"

ever, not, hownoses

because

of the

effect

and of

fingers.
sunlit
"

Ask

the average and the him

answer

person

the

color

snow

will color
"

probably be,
shadows

White."
snow

Ask
and

the

of cast

on

he will

reply, Why,

gray."
on

As of
an

matter

of fact the shadows

snow

are

intense

blue, being,as has been

explained,
the
to
light. sun-

illuminated

solely by
the

reflected
range

light from
from

sky;

and

lightsmay
on

white of the

crimson, depending
The
sense

the character
reacts lights
on

color

of the the

our

color

to
so

modify
it is have

apparent
say

color of the shadows, that either and

impossible to
any

lights

or

shadows

definite for the

permanent

color. who
to

it is well Still, is limited

to
a

photographer,
rendering,
a

monochrome stock and

adhere

to

white

blue-black

image,
to

since he will thus

approach
snow

more

nearly

the

psychic

effect of
140

than

is otherwise

WINTER

WORK

such possible, in the that rooted will

case

selection under

being advisable
a

even

of

snow

dull

the belief light,

snow

is

invariably white
minds
of most
to

being
persons

so

firmly they
when
wise. other-

in the

that

resent

any

attempt

represent it
times
a
"

It

is,however,
with sunlit
snow

possible at
"

working

to

employ

slightly

yellowishpaper
the brilliance
Most

for the of the

support, thus enhancing

lights. writing on
the
the

authors, when work, insist

on

subject of
The writer
most at

winter
but
once

necessityfor comfort,
in the snow,

this is

by

no

means

imperative.
hour

stood

for

nearly an

inadequately dressed,
six

with
and

the thermometer
a

degrees

above
to

zero

vigorous
He the

wind
was

blowing,

in order

secure

picture.

thoroughly uncomfortable,
a success

but

picture was
but

and

no

ill effect

followed;

this is
to

not

recommended. dressed

It is, after
to resist the

all, well

be

properly
from
one

cold, since, apart

uncomfortable of the suband of the

the
cannot
more

of acquiring pneumonia, possibility do

good
to

work

when

he is

apt
the

hurry

the

selection

ject and
finished

making
will

of

the exposure,

result

show
141

the effects

haste,

FINE

ART

OF

PHOTOGRAPHY

since

it

is

at

times
in

necessary order and

to

to

wait

for

longed pro-

period
of

secure

the

ment arrangeto

lighting expression.

clouds

necessary

the

desired
To

summarize,

then,
aff ords

it

may the

be
most

said

that

lit sun-

snow

probably
in

favorable
of

of

all when

subjects
pure

the

entire is

realm
the in

landscape
whereas is

sestheticism
dull

aim,
storm,
of

snow

under

sky,
other

or

hardly
for that its

surpassed stimulating
whereas full the

by
and

any

type

subject
;

dramatic

possibilities
who former will will

and

photographer
from the who offered

extract

meaning
the

must

be full

master

craftsman,
the

one

make

use

of be

opportunities
master

by
of

the

latter
and

must

artist,
strongest

capable
emotions

feeling
of the

sing expres-

the

human

souL

VII
LANDSCAPE

WITH

FIGURES; GENRE; of

FIGURES

IN

LANDSCAPE;
THE introduction
extends
are

ILLUSTRATION

figures

into of
summer

landscape expression,
from
of the

vastly
but

the very in

possibilites
different in

these

what

they

are

winter,

simply
In bizarre will

by

reason

difference
must

in

clothing.
if
a

winter
effect

the

models

be

clothed
in
"

is

to

be
on

avoided

fact,
"

they

usually
summer

insist nude A

being partly

clothed nude of

whereas

in
be in

or

figures
this

may

employed.
we are

rect di-

result
limited
to

is that

winter
as are

chiefly
or

such of

pictures experiences
affairs;

descriptive
the
summer,
we can

expressive
actual nude
or

within
in

range

of

human

but

using
make
pling peo-

partly
into

draped
the
realm

figures,
of

excursions
our

imagination,
and and

pictures
satyrs,
with

with

fairies

dryads, sprites,
in

fauns

and

elves,
all

nymphs
wondrous

and,
the

indeed,
world
of

the

dwellers

myth

and

fancy.
143

FINE

ART

OF

PHOTOGRAPHY

Landscape
necessary
to

with
decide

Figures.
"

It

is, however,
be
a

whether

the

pictureis to
a

landscape
the setting,
"
"

with

figures or figures in

landscape
of genre it not

latter

verging
tells that

on

the realm

picture which clearlythat

which

story "; and

we see a

infrequentlyhappens
shows
the

print which
unable
to

artist has
of and

been

determine

form

expression he
the the

would

choose, the
with each

figures

setting warring picture,

be
to

other these

for attention, and

two

between
to

conflictingforces, falling
must

the

ground.
In

Unity

always

mount. para-

using figuresto explain or

be obvious be in actions should

give
their

force to
attire

landscape it will
itself.
the

that

and

harmony
are as

with much
of

the
out
a

landscape
of

City

clothes
as

place in
are

country
and city,

the

garments

farmer

in the of

the soft and will and

ing flow-

draperies
as

Greek
a

mythology
rugged
an

monize harbare

little with sierra

as

mountain with

the furs of veldt.

Eskimo
it may

would
seem

the African

Though
this, it
often

superfluous to

mention
are

is nevertheless

just such

details that with

tograph ignored by phowe can

incongruous result;
144

LANDSCAPE

WITH

FIGURES'

forgive Shakespeare
clocks mind
to
so

for

introducing striking
but It
a

into ancient their P's and

Rome, Q's.
of

lesser

men

must

is necessary

also
care,

study

the inhabitants

country with

that not

only

their with

garb

but

also their actions

may well

harmonize
as

the idea to be
of
same.

expressed as
scene
"

with
are

the
not

character
the

the

and
it

the two
not

always

Of
the

course,

infrequentlyhappens

that

figurestake
on

their
the
curence

place naturally,without
must
user

intervention such
an

part of the photographer; but

not

oc-

be

counted

on,

and

the

era cam-

must
to

be
correct

sufficiently equipped
any
errors

with
creep

knowledge
in.

that may
with

One
as

of

the
as

greatest faults
writers
error

raphers photogto

well
an

is inattention

tail, de-

and

it is

into
to

which

the This

average does
no means

photographer
"

is prone
"
"

fall. these
are

not

mean

details
"

though

by

to be

ignored
care

but refers to the fact that insufficient

to

is taken

make

the

component
White
in Su-

parts of the work

and

historically, geographically
Edward
Lucas

correct. ethnically
as

is quoted

saying that

he spent fifteen years

for
145

study
10

in

preparation

his

story

"

El

FINE

ART

OF

PHOTOGRAPHY

premo,"
person

and

it is this

spiritwhich
such
a

prevents
errors

from

into falling the work of

he

gross

as

characterize detective
to
an

writer of

of

popular
able had

fiction when
at

speaks
of

being
camera

photograph
for

night because
and

the

shutter ultra-rapid
rays

using
be

violet the ultra-

fog-piercingphotography.
or a

Of

course,

story
at

picturemay
same

meticulously
in which ter. is the bet-

correct

and

the

time

extremely dull;
one

but, other things being equal, the

there
are no

gross

and

obvious

errors

A up.

wide

field for discussion the

"

is here

opened
"

For

example,
force of

Morte

d' Arthur

is

inexact historically

in every

respect, but
has

ory, Malhis
an

by
of

genius,
and that

surrounded with real such

legendary
aura

heroes

heroines

romance

they

seem

people.
huts,
Xot safer
of

We

forget,in
that

our

delightin fought
a

their

alry, courtly chivmud clubs. and

sure

they actually
however,
is

lived

in

dressed everyone,

in skins, and

with

Malory,
who made

the

plan

is that

of Defoe, his

his

detail and
romances

employed
on a sure

genius to
out

build

great

foundation

of fact.

The

author

would

point
146

the

erroneous-

LANDSCAPE

WITH

FIGURES
belief that when
must

ness

of

the

commonly
used

held in
a

nude

figures are
to the
more

picture they
male
as

be necessarily
as

female.

The

figureis fully
and,
well and

beautiful

seeingeye
be
more

the female,

indeed, is

likelyto
men women.
are

graceful
writer

constructed, since
exercise
a man

cal given to physihas

seen

than

The

of about

twenty years
as

of age

who

might
of

have Greek than

no

posed, just

he
was

stood, for any

far
more

the

sculptors,and
any
woman

beautiful

within

the writer's
of

experience;
ever

model professional

the

studios of of him

proached apslim

the
young

grace

and the

beauty
with

that
a woman

athlete,and
could

only statue
high

which

be

compared

for

bined com-

physical perfection and

intellectual

development
misnamed
In
a

is that
"

Victory
the
one

which

is commonly

Venus nude

of Milo.
one

using

models, however, there is

receive
no

element

which

must

careful

attention

"

namely,
So

the fact that be

question of
to
"

the model's itself.

"

personalitymay
soon
as

allowed

obtrude Who

people begin to ask,

the model and becomes the

is it?
a

at

that instant
man or

simply

naked
offen-

woman,

picturebecomes

147

FINE

ART

OF

PHOTOGRAPHY

sive.

It is said that

Whistler scratch

used

to

draw

beautiful and
forth

girl and
across

then

his

pencil back
to

the face, in order

at other

force

the

spectator to look
than
mere

in qualities

the work
be

beauty
if this

of

feature; but

it may for

doubted
fact of

practiceis sound, being

to

the very would

be

the
draw

face

obliterated
to

likelyto

attention
well

it,and

the

rapher photogfor

will do

employ
said

other

means

concentrating the
Bernard

interest well

elsewhere. that
an

George
the

Shaw face

has away

turning
of, and

model's
of

gives her

unpleasant air
it is
sist, con-

doing something noting

as

she is ashamed

worth

that

true

modesty

does

not

most

people think, in being

but in

ashamed of it.

of

one's

body,
can

being

unconscious
seem

If

the artist
of the

make that he
no
"

his model
or

unconscious
no

fact

she

"

has

clothes

on,

there

will be and
no

slightest suggestionof
too

esty, immodto

pains are
are

great

to take
more

this

end, for there

than methods them the
use
are

few

things in
for

art

tionable objec-

evident available

nakedness.

Numerous
among

this purpose, the outlines

being softening of
of
an

through

uncorrected
148

lens,having the model

FINE
all

ART

OF

PHOTOGRAPHY
is the

photographers, the pictorial of all mediums least satisfactory

for this class of it the most it is

camera

of

expression
ing makever, How-

work, its very

literalness

difficult of all to handle.

possible to

produce photographs
are

including nude
beautiful and

figureswhich

not
are

only
even

oughly thorvery

unobjectionable,but
said that the

expressive. George thing to

and
* * *

Du

Maurier for the

spectacleof Trilby posing

a

figure was
and
true

"

sober it is

Silenus

chasten that
a

Jove
fine

himself," and
beautiful

perfectly
well

figure, if

presented, is
same

far
in

less

objectionablethan
costume
"

the

figure
so

modern
is
seen.

as

modern
it gestion sugelers, travmost

costume

often

In

this connection
power of

is

interestingto
is

note

that
the

the

proved by
fewest
ratio of

fact, observed
tribes
are

by

that among
common

savage

chastityis
worn,

where

clothes
to

being,in covering
tribe, as

fact, in inverse
on

the amount
of that

of

the

bodies

the

members
and

the

dictated
of

by

local custom;
"

the introduction

Christianity
garments
"

or

rather

of

the
a

panying accom-

is followed

by

decline

in

moral

standards.

So, though nude

150

figures are

LANDSCAPE
difficult to treat well
overcome

WITH
since

FIGURES
0'

"

it must

be

done

so

admirably as
from treated and
our

to

the latent inheritance

"

Puritan

ancestors

if

they

are

well

they
been

afford

for fine great opportunities

noble

expression.
said that

It has

figuresmay
it is not be the
A

be used

to

explain a landscape, and

understand for how this may
to

difficult to

case.

ring, ReferMeadow

example,
suppose

Mountain farmer and

once

(page 216),
rake
to

the

the be
a

hayclear

be

lacking, and
scene

it will at

that, although the

will stillbe of
not

ing farm-

country, it will

be

so

and definitely
of the

positively so,
Indian
or

and

much

of the force
a

ture pic-

will be lost. In like manner,

or an

cow-puncher

in the West, denizen

of

fisherman

along the
at the

coast,
may

any
to

particular locality,
and
to
same

serve

identifythe spot vigor

of A

time

to

add

and

emphasis
idea
or

the expression

of the

fundamental

emotion.

In

the

case

Country

Road

(page 104)
useful
very

the
to

figure is introduced
the
scene,

solelyto give vitality

a

and

this indicates
Here the

very

function

of

figures.

picture is
:

evidentlypreciselywhat
151

the title says

the old

FINE

ART

OF

PHOTOGRAPHY

barn,
and

the

overhanging tree,
beside clear road the the

the

distant
all

hills,
bine com-

the
to

winding path
make

the road
of

character

the and

spot;

but

an

empty
so

is apt to be bald

teresting, uninadd
an

girl was

brought
that

in to

element and human The linked and

of
a

interest, to show

this is

really
the

truly

road, leading somewhere,

tends
to start
a

and

factor

train of

thought.
the

spectator finds
up

himself

unconsciously

with

the

joys and
who travel

sorrows,

hopes
the

fears, the work, the play,the pains and

those

of pleasures
not

the road.
was

It must

be

supposed
mind
at

that the be

all this
time of

in the

rapher's photog-

taking the picture

if any

(in fact, it
and result that this
was

may

doubted

artist

ever

synthesized a picturein deliberately

we

this fashion,

may
a

be

sure fairly

that if he did the

failure) ;
because

but

it is

simply

the

case

he

felt the

appeal

of the

road, and

made
to him.

photograph
than

it seemed

good
being
a

Evidently, the girlrather

of the

fact of the model

a

young
timent sen-

bent

old

man

throws the

the

picturetoward
this the
because
152

more lighter,

and joyous things of life,

was

model particular
felt

used

merely

photographer

FIGURES

IN

LANDSCAPES
; he

joyous
and

on

that occasion
no

was

well

and

happy,
himself,

melancholy had
that
way

part

in his
to

and feeling life,

he undertook
a

express
a

as

unconsciouslyas
is thus the that the

bird

singsor

child

plays.

It

artist should

always work,
not

and

question of
not

whether
enter
a

or

this is

great picturedoes
all.
not

into

the matter

at

To

be

sure,

it is not
"

great picture; it is
than
toso. maes-

epic but lyric allegrorather

But

it is at all events animated

it
was

sincere the

expression

of the
at the

which spirit
time
serve

photographer
so

when
to

taken, and
someone

may

haps per-

remind and

of

pleasant,if
figures

not

lofty,thoughts

experiences.
"

Figures
serve

in

Landscape.
or

So

may

to

emphasize
manner a

explain a landscape,and give

a

in like

landscape settingmay
or

force to the

thought

emotion

expressed by
Genie

figure, as
Rocks

in Hassim

Seeks
where

the the

of the
dently evi,

(page 116),
the

settingis
the

explanatory,or
where

in The
a cave

Bat

(page 154)

suggestion of
out

behind

figure

helpsto
of will be

carry

the dark

and

terrible the

thought
far

vampires
seen

and that

all evil
the

things of

night. It

latter
153

picturedepends

FINE

ART

OF

PHOTOGRAPHY

more

on

the
; true,

spectator'simagination
both

than

the

former

requiresome
is the

with familiarity
more

legend, but
the two;

the ^Hassim

literal of

there

is less mystery shadows

a

and and

slurringof
line, out-

detail,less of empty
and realms the

formless

pictureas
rather This is

whole

belongs in
to

the

of genre

than

in the world
means

of the belittle

imagination.
the
success

by

no

of the

Hassim,
he set out

for

the
"

artist has that

accomplished what
illustrate
a

to do

is,to

particular passage
Eastern

of

particular
is in is one the of

story
"

no

lighttask, for
few

romance name

itself so full of wonder

to

that the

mere

conjurewith, but
Kasebier's remarkable of

artists have

shown

imaginative power
Mrs.

which

is characteristic

work.

So, too, in Mrs.

in the

Brigtains moun-

man's

taken pictures,

California, the
as a

serves

merely

landscape generally for the figure, but it setting

case

is nevertheless

the

that the
any

one

is
or

so

well

fitted to the other than

of

change
would

tion modifica-

the

arrangement

vitiate

the

whole.
Genre. been
"

Genre

is sometimes
"

defined, as has
which tells
a

suggested, as

picture

154

GENRE

story," but
the

this

is not

quite complete,
than
mere
"

for

it

actuallycomprises more painting

life
"

ing, story-tella

definition being, dictionary

or

styleof
common
sarily neces-

other

art
seen

illustrative that
there

of

so

it will be

is not

any

story present, though, of

exist.
are

course,

such
Dutch

may

Many

of the

paintingsof
of

the

artists
and

merely
whereas

illustrative others
are

ners man-

customs,

definitely
to

narrative, and
where
the

it is not

always

easy

say

just
been be

dividingline
that
a

is found.

It has factor
one

suggested
found the

determining
a

may

in the

question of
falls

title ; if
the

is

sary, neces-

picture
if it is

into

story-telling
verbal tive. illustra-

class; but

without satisfactory

explanation,
This

it is
is

purely
no

and

simply
a

by

means

sound

guide,
is

though,
without

for

picture may

tell

story quite well

Rixe
the

words.

Meissonier's
even

La

quite

brawl, a definitely
remain

though
and
is that

title may

entirely unknown,
we can

the the
and

only
to

clusion con-

reach

way

tinguish dis-

between

illustrative
to

narrative
at

picturesis,curiouslyenough, A well-known painter has

155

look
"

them!

said:

The

pic-

FINE

ART

OF

PHOTOGRAPHY
have been

ture

which
"
"

needs
a

title should

never

painted
at

view

which

is

gaining acceptance
with The
not

the

present time, but

cannot

one

which

the

writer
course,
on

altogether agree. graphic

of
art

idea, of

is that

should
but

infringe
remain

the domain

art literary

should

a entirely

matter

of visual

perception ;

but is

this
pable ca-

attitude, though
of

fundamentally sound,
carried
to
excess.

being
devoted

Originally
for the

all art

was

literaryin character;
themselves their effort the
to
was

early
of
the

painters
the

the
to

service

Church, and
of hell and

make
more

terrors
to

joys of
saw

heaven
their

vivid

the

worshippers
to

who

altar-pieces
in the lives

and
of

frescos, and

depictincidents
the
purpose
was

the saints, with

of

stimulating story-telling.
to

fervor. religious

This

pure
came

Gradually, however,
that there
as were

painters

realize

other

subjectsof interest, quite

as

worthy

of their attention
art

the

Virgin

and
its

the

saints, and

became

more

general in

choice

of material,
The

finding its subject-matter in

and1 fishermen, market-girls'

The

shepherds

and
156

the

sailors,too,

GENRE

though
the that

the

literaryidea
of
medium

still

persisted.
could

With

advent
here of
was

photography painters realized

a

which far

show

the

affairs

daily

life with

greater fidelity
reason or

than

the brush.

Whether
to

for this
turn

for
to

another, they began

other

their attention

things,one being

feature

of this

change

of purpose

the advent

of the

ists, Post-Impressionliterary painting,

distort
on

Cubists, Futurists

and

similar schools,who,

seeingthat
discard

form

is the basis of

form

altogether or
and

it

beyond
and
any
can

recognition
color. It
art

rely solely
to

pattern
that

is ridiculous

suppose
to

graphic
ever

which

appeals
abnormal
the very

the

intellect

entirelyignore form,
these
to

and

the

temporary
of

popularityof
art

manifestations
human desire

is due
"

partly
a

for

novelty
progress.

desire which
The

is at the root fault in the

of all true
matter

chief

lies

with the

public that accepts these

the
same

weird

tions producthat

with would
be

serious consideration
to true

accorded

works

of art.

However,
many and

aside

from

these

abnormal
no

ers, paintanced, unbal-

genuine artists, by quite

free from
157

means

any

suspicionof

FINE

ART

OF

PHOTOGRAPHY

charlatanry, have

set

themselves is to be

to

establish from be
any

type of painting which

free

relationship, though literary

if the effort will in
a ever

it may

doubted As
art

be

fully successful. chapter, graphic

well the

pointed appeals
and would valuable
in

out

former
as

to the

intellect

as

to

senses,

ignoring
seem

the

intellectual

side

the

artist
one

to

be

deliberatelydiscarding
of

portion
of for idea

of his power

affecting the
This
to

spectator and
is
one reason

deliveringhis
the
that author's
a

message.

refusal

scribe sub-

to

the

picture should
a

sarily neces-

be

complete

without

title;the
ways,

brain the
vey con-

receives author
an

impressions in
holds

various

and

that the chief

the

end

of art is to

impression,
than
say
to

means

being

of of

less the

importance
purpose. To

the that

accomplishment graphic
art must

never

call with

literaryart

its aid is

preciselyon
must
never

par

art saying that literary

on

depend
must

for assistance

music

"

that

poetry

ways al-

be recited, never The writer will not

but

sung. that

cheerfully admits
find favor among

tude this atti-

modern

artists,

will be

termed

reactionary,especiallyby
158

GENRE
the ultra-modern

among

photographers
one

theless never-

he insists that when

a

starts

out

to

do

thing the

main

point is to accomplish the

of

pose pur-

regardless
course,

the
be

method,
done

provided, of
inflicting
need It
was

that

it

can

without
a

undue does look

not at

hardship

on

another,

danger which
"

exist in the realm

a

of art

no

one

picture unless
Twain

he
"

wants

to.

said of Mark infinitive with

ever

that

he
no

would

splitan

anyone," and

great artist has

been

even purist in style,

Shakespeare at
It is also admitted

times

using faulty grammar.

adherence
to

that
may

the

idea
not

that

picture
the
must

will properly be literary

of

bring one
one

favor shout

exhibitions
the

"

to
as

be

popular
Pickwick
with who
to him
as

with
are

mob,

Mr.

said, and
the

if there But

two

mobs

shout
one

larger.
a

the true

artist is the

has
"

vision

and

strives to express cities

"

it,and

the shouting

are

of

as

little worth

they proved
not

to

Diego

Valdez.
that

However,

it must

be

supposed
of
often

genius; it

is necessarily eccentricity a sign quite as well be, and more may

of mental

is,a symptom

weakness.
to

The
attract

painter or

sculptor who
159

is unable

FINE

ART

OF

PHOTOGRAPHY
mental times
mere

attention

by
to

unusual

powers

at

endeavors

accomplish

this

result
the

by

eccentricity (the originator of

school
he

pressionis post-imthat guished distinfact be

is said to have such

a

admitted
may

is

faker), but
from the

one

originalthinker
care

by

the

that the latter does not attention

or

whether

he attracts
once

not.

Michael

Faraday

onstrated dem-

newly
of

discovered

scientific

ple princithem
a

to

group model the

"

students, showed
he had the

working
indicate then

which

constructed

to

applicationof
We will
The of
now

and principle, this

over

said:

turn

to

the
is

calculators."

originalworker

in

art

equally careless
Since genre

popular applause.
is to be illustrative of almost
mon coma

work
must

life,it

include inevitably this

and figureor figures,

seems

given

proviso,there
there is

to be little limit to the

of this possibilities

form
to

of

in fact, as little, as expression, may

life itself, for genre

or

impinge

on

either

landscape
The
is

Cossacks'

portraiture. Repin's painting, Reply to the Sultan of Turkey,

but the greater

fundamentally genre,
interest

portion

of the

lies in the
160

wonderful

depiction

GENRE
of the individuals
to

forming
at

the group.
not

possible It is im-

look

the

picture and
man

stand under-

the character
the and

of each
to

included, from

burly, jovial savage maliciously cruel

writes
and
we

the
"

lean, reserved
even

barbarian
no

to

the

more slighter,

educated, but
the

less
one

dangerous
is
no a

clerk who
from

reply: each
meet

fighter,
one

choice would
is genre,

and predilection,
care

of

them This
mean

to

alone

at

night.
no

but

it is also

portraiture of
should the and
circumstances

order, and, in fact, genre

usually

fulfil this

requirement,
the

for

surrounding
at

individual

the

influences
on

work

in his life leave

their
to

impress
that
in

his
planatory ex-

features, and
of lives.

his the

portraitis
time and

extent

place
be

which

he

Nevertheless

it must

not

supposed
of genre

that

is imperative in portraiture for

one

this class of work,

"

of the greatest masters he

was

deed, inif,
"

not

the

greatest of them
them
for and
161

all

Jean faces
broad of

Fra^ois
of his

Millet, habitually slightedthe

models,

brushing

in

with

strokes, and
character
11

depending
on

his

expression

rather

pose

action,on

the main

FINE

ART

OF

PHOTOGRAPHY

organic

lines of the

individual, than
Millet's is the
as

on

facial
erful pow-

markings.
mode been the

Evidently
of

more

expression, for,
out, the
more

has
we

already
can

pointed

detail

omit

better,provided the effect does

everyone

not

suffer;
can

but not do

is a

Millet, and the

cannot.

master

what

the

scholars

Still another
a

styleof

genre

is to be found
in which

in the

war

poster by Joseph Pennell,

on

expressiondepends
of
an
man

showing
man

the

ments accomplishA

rather

than

himself.
tracks combine the
a

tleship, bat-

railroad airplane, of man's hands

and

sundry
a

other works
most

to make

forceful

appeal; but
in

only

indication

of human
so

beings is found
as

few

small

figures,
men.

minute
may

hardly
say

to be

recognizable as suggestion
this last is not is form

Some

that

since

more

powerful
genre
to

than

delineation

of

is the best, but

with

the writer

prepared
a

agree

this idea.

It is,however, the attention

very

strong style,and
camera

deserves

of the

worker.
an

Generally speaking,figureswill play

role in genre,
must

portant imtention at-

and, of

course,

due

be

paid that they harmonize

162

with

FINE

ART

OF

PHOTOGRAPHY the
on a

well-watered

country, where
a

sheriff

loses

the trail of and of

a

horse
of
a

and

rider

dusty road,
There

where door

(acme
shakes

the slamming carelessness)

"

stone

"

wall. the

are

infinite details connected of

our

with
one

simplestact
familiar with

daily lives,and
can

not
some

them

easily
far

overlook

apparently
with
the

trifling thing which, nevertheless, will spoilthe

effect
so as

those

acquainted

cedure pro-

are

concerned.
for

Suppose,
a

example,
a

an

artist should

show
on

fisherman

using
a

deep-sea rod

and

reel
a

trout
camera
an

stream,
to

photographer using
an

studio
race,
or

photograph portaging by

automobile of
a

Indian
the

means

tump-line,
:

with

pack restingon
be absurd
are

his shoulders
one

the

sult re-

would these

to

who
one

knows
of
a

how these
person

things
had
not
a

done, yet any

made

mistakes who

might readily be
with think these hard

by
and made

observed, sufficiently
par
are

mistakes

quite on
this

by photograph
For

who
reason

work best

tiresome. for the

near

it is

perhaps

rapher photoghome
to

to

select his the

subjects from
164

and

to

leave

portrayal of foreign lands

GENRE
0

those be

who

are

familiar
with the the

with

them; he will then

of the their who persons
tomed accus-

acquainted

customs

portrayed, and
parts in
abroad and and

models The

will act
man

life.
with

travels

returns

snapshots of Japanese
is not

geisha
genre;

French

laveuses his

showing
be, they

us
are

as interesting

printsmay
genre,

merely
and genre but

records

of
must

facts,and
be

like all other

stylesof art,
did took
not

inspired by imagination
The
afield Dutch for
masters

understanding.
travel what
as

of

their

material,
of the

lay

at

hand,
went

the

folk
their

Netherlands,
affairs in home

they
or

about

daily
needed

tavern,

furnishingthe
who

inspiration. The
success

photographer
will be well

aspiresto
to

in this realm

advised
has

low foldone

their

example.
some

Clarence

White

this,and
are

of his

picturesof

domestic

genre

both

illuminatingand
as

valuable

records, possessing
and
a

well

great

sympathy

high
quisite ex-

measure

of

pictorial quality,shown
the

in their

feelingfor
sensitiveness of
a

rendering of lightand
Man's

the

of the artist to the decorative

value

choice

pattern, Blind
an

140), being

Buff (page especiallydelightful example.

165

FINE

ART

OF
Allied

PHOTOGRAPHY
to

Illustration.

"

genre

but

of

more

ephemeral
the

nature

which is illustration,

within
of

past few
a

years,

largely through
come

the work
a

Lejaren
place

Hiller, has

to

take

notable both for

in the

productions of
In has fact

the camera,

the illustration of realistic fiction and illustration.

as an

for advertising
to

aid

tising adverhave lieves beif

the
not

camera

which possibilities and the writer

yet been
that

fully explored ;
in time

photography
show

will almost for

not

quite supplant draughtsmanship

since also it its
can

this

purpose, used far but

more

not

only the
with

article in
a

application to daily life

and
a

convincing manner
of verisimilitude In

higher

degree

than

is it is
on

possible with
to interesting

drawing.
note

this connection

the

increasing enthusiasm
for
a

the
"

part of
article and

advertisers which derided

users.

the

soft-focus ago
was

lens

an

but

few all

years but
a

despised
camera

by
This

few

advanced is due

novel

popularity
artistic

partly
of

to
to

the fact that

the

general public is beginning

more

appreciate the
definition
of this and

quality

soft

partlyto

the

more

use intelligent

photographers now objective,

166

to striving

ILLUSTRATION softness
rather

secure

the

pleasing
human
eye

characteristic than

of

the normal diffusion its

the excessive
lens

given by
be

an

uncorrected

when

are possibilities

overdone. the result

as

Whatever

may

regards
not

vertisin ad-

the writer does illustration, that the

camera

believe

will for the

ever

take

the of

man's draughts-

place
literature.

illustration

imaginative
difficulties of
as

In

the first

place,the
consider

securing
may

suitable

settings are
if in
we

considerable,
the expense

be

understood involved
"

and
say,

labor the

arranging
and

and

costuming,
in mind of

Morte

d' Arthur,"
means
an

bear

that what would

this is
would

by

no

extreme

example
next

be far

required.
from the easy
scene

In

the
secure

place, it
of the

be

to

satisfactory
were

models, unless present time

of the all the labors

and

action

and

approximately
most

of the location

story.

Finally, the

conspicuous

of

disadvantages under
is its literalness.
exactness
a

which power

photography
ing of delineatit gives

This is

with the
camera

what

placed before advantage

other

tremendous

in advertising,

portraiture and
limits its value

many

fields,but
of works

sadly in

the illustration
167

FINE
of

ART

OF

PHOTOGRAPHY is

the
"

imagination.
The Rime of Fall "The
"

It

impossible to
Ancient
"

ceive con-

the

Mariner,"
Paradise "Divine

"

The

of the House

of Usher,"
or

Lost,"

Culprit Fay,"
It is,of course,

the

Comedy
could such be

illustrated being satisfactorily

true

by
in

photography.
fashion

that models

clothed, posed and

as

photographed
the outward

to

express

and

visible features soul of

the

of these
or

works, but the inward

would,
it is to be

story

poem

feared, remain

beyond
is

the grasp

of the lens and and

plate. Prophecy
matter
to

dangerous,
but

it is

risky

dogmatize;

the author's
of

belief is

against

the

complete replacement
in illustrative work.
are

drawing
The
fact

by photography
makes
actual it at

that the illustrations

once

obviously photographs
that

evident
and actual is

they represent
ately immedifrom the down

persons the

places,and

observer

brought

world
camera

of

fancy

to

that of fact.

So, though the

tion, fac-

may

do well in
be

realistic illustrating
to succeed cannot

it cannot

expected
;
ear.
one

in visualizing

imaginativework
purse In
out

make

silk

of

sow's

illustration the chief

168

is,as might difficulty

THE BY From

PRELUDE LAURA
a

GILPIN

Platinum Print

FINE

ART

OF

PHOTOGRAPHY

sired ;
enter

as

it sometimes
for

happens
such

that

model

will

suit and

damages
a

against
release
to
to

the

rapher, photogthe trouble release it

unless
may be

is at hand

illustrator
and expense. up

put

considerable
have
a

It is well
a

form

drawn

by

good lawyer, and

used very in
a

have

signed

by

all the

models

given picture,this precaution.

must

being, in fact, a Evidently,

not

necessary

the

photographer
the with

be

iar familof the of the

only with
but also

physicalappearance
the

models

requirements
more

advertiser, and

this involves
since be

study
are

than

might

be

expected, points
to

there

numerous

technical

observed

which
in

would
a

ordinarilyescape
to at

notice.
a

Thus,

making
is
sary neces-

photograph of, say,

select
same a

pair of shoes, it
with
what be

model
to

graceful feet, and

tures particularfea-

the

time
the
to be

learn
are

of what
on are

shoe

to
"

emphasized
to
a

and
stress

disguised
comfort

whether
of
a

lay

the
on

slim
the

and

graceful lines
of

dress

shoe,

or

sturdy
are

walking-boot.
of

Advertisers

naturally
best
be

desirous of

calling
uct, proda

attention

to

the

features the
no

their

whether

these

beauties

of

well-

ILLUSTRATION
"

designed
economy

shoe
of
an

or

the

ease

of The

control writer's

and sonal perdone over-

automobile. that

feeling is
in this

advertisingis
To the look modern of

much

country.
pages

through
does who

the

advertising
arouses

magazine
an

in

him with
to

the
a

same
or

feeling as
a

encounter

clerk
a

salesman

is

determined
resentment

force
a

sale

"

that is,a
not

feelingof
to

and

determination
is

buy
to

the
the

article forced.

He
our

violentlyopposed
cities with
of
our

disfigurement of
electric

signs and

ing winkblazing, countryside with

the passer
or

huge
home
his

billboards in

that insisting

buy
of

Mosquitohurst-by-the-Sea
the

inflict on
that

children

modern
Tom

descendant

Pain-Killer

which

Sawyer thought
to the human

better

adapted
but

to the feline than

can

species ;
of

there

be

no

doubt

that

the business

making photographic
is
a

illustrations and

for advertising

growing large,
considerable who

profitable one, which

rewards
it up

holds

financial
will take

for

the

photographer
and

with

tence persisable reason-

enthusiasm,

conjoined with
does
not

ability.
The writer has said that he
171

believe

FINE

ART

OF

PHOTOGRAPHY
of

photography capable
in the but of Attention
much

supplanting draughtsmanship
of done of the

illustration has been

fiction

imaginative

erature, lit-

in the illustration

realistic

present

day.

is called in
a

particularto 28)

the Illustration this

,

for
been made

Story (facing page by

the Mr. Hiller

having Joseph

to accompany

Hergesheimer's "Paterfamilias,"
in

which Post.

peared apA

Saturday
for

Evening
that such

great many
been

workers, includingthe writer,have

years

convinced
were

ments achieveof this

and, possible;
been A. done
in

in fact, work

sort

had

the

past by

Clarence
Karl stories.

White,

Radclyffe
have
as

Dugmore
books

and and

Struss, who Still,so

been far

illustrated

the writer

knows,

this work

has

sporadic and
the
first to
to

local in character, Mr.

make
a

Hiller

being

commercial
energy
success

tion proposiand
in

of necessary

it and
to

show
a

the

force this

make of

business

direction. of Mr.
of

One

the

istics interestingcharacteris his

Killer's

work

frequent
details

use

cross-lighting to
otherwise
to the

emphasize
or

that and

would

be hidden

to

give

snap

brilliance

picture. This
172

is an

effect which

ILLUSTRATION
valuable

is most

if well

done,

but

it must
not to

be

carefullyhandled
up into
a

if the

pictureis
collection

break

heterogeneous

of unrelated

spots.
The illustration
one

reproduced
of it

herewith
class
most

shows of work
"

admirably
which

feature

this

differentiates

from

others

namely,
not

the

fact

that

such of
is

photographs
action.
This

are

primarily photographs
mean

does
;

that consist

the action

violent necessarily
an
-

it may

merely

of

interchange
a

of

ideas, but

there

is nevertheless such

very

distinct scapes landthe

separation
or

between

pictures and photographer

the
minds

portraits. This
the part of the his

fact necessitates

power

on

of projecting of the

personality into
it is

actors, and

that the models but also of

evidentlyof great importance be capable not merely of looking

acting their parts.
Therefore,
record
up

it is desirable

that

some

be work

kept
"

by
in ways althe

photographers taking
"

this

sionally profeswriter

of the

abilities of different models

In actual

this direction.

work

the

explains to
idea and
purpose

the

models

beforehand

of the
173

to picture, reserving

FINE

ART the

OF

PHOTOGRAPHY
in
to

himself
pose
or

of suggesting changes privilege

expression; and
amount
a more

this the

plan

is found

work
a

well, since it relieves

of

photographer
stimulates

of the

certain
to

effort,

models
often

enthusiastic

cooperation,and
the

results

in valuable

suggestions from making

the

models
esteem to

their selfthemselves, besides flattering

to
some

extent

and

them
Some

readier

work

in, that

studio. particular
direct

tograph phostep by

prefer to
step,callingfor
without
there
a

action
or

certain
reason;

attitude

expression
in any

giving
is
a

but,

as

line,

vast

difference

between
and

the the for

worker
one

who

is animated
goes money,

by
and

enthusiasm

who

merely
of

through

the motions
which is of

the

sake
the be
flected re-

the

anything

makes
to

studio

pleasing to the models in the picture. It is

in illustration
and
as

sure

as

much

portance im-

in

portraiture to
a

work

with
as

sureness

decision, for
as a

model
any

is almost
nervous

easilyconfused

and sitter,
to

or

jerky

behavior

is

apt

be reflected
on

in the finished

result,certaintyof action
secure

the
on

photographer's part helping to

the model's.
174

ease

ILLUSTRATION
Work
of this character

is

mostly
for
on

done

in the

studio, though the photographer will sometimes

find it convenient it is
to to

go

out

settings. Still, working

in
one
can

generally best place, and

or

depend

definite be

furniture
or even

or

accessories

bought
a

rented,

constructed found be

to

order, for
a

carpenter shop will be

much
use

most aldone.
for

necessity if

work

is to

The

writer

prefers to
ones

twin-arc

lamps
a

illumination, the

employed having
that
of

trum spec-

closelyapproximating
and

daylight,
a

giving

so

intense

light that
lens

with
a

fast

panchromatic plate, a
and
one
a

working

F/5.5,
of

fully correcting ray-filter, exposures

are

second thus

possible,correct
It will also
a

color
be found
even

values very
eral, sev-

being

secured.
to

advantageous
so

have

or spotlight,

that
on

strong illumination
some

may

be

centrated con-

particular area
and
a

if desired,

and found
to

1000to
arcs

watt

500-

watt

Mazda

are

be
or

helpful at times, by
themselves.
camera
a

either in addition
In

the

the studio

an

eightby

ten

view

is ordinarily used, and

for outside

work

four

by
175

five

ished Graflex, the finten.

prints being nearly always eight by

FINE

ART

OF

PHOTOGRAPHY

Tank

development
and the

of

the
are

plates
almost

is

invariably always
a on

employed, glossy
paper,

prints
in
some

though
may be automatic

instances
for
some

ent differ-

surface An

required

special
and

purpose.
an

printing-machine
are

enlarging
It
not to

apparatus

almost that
effect

imperative.
it is

infrequently
secure

happens
desired

sible impos-

the
and
a

by
of

straight

photography,
and air-brush
two

knowledge
as

retouching
method be of of

work,
or more

well

as

of

the will

combining
desirable.

negatives,
own

found
bination com-

The

writer's is to with
to
a

method
a

printing negative,
of
one

make

print
knife
to

from the
the

each

cut

out

sharp

portion
other,

which
it in

is

be and

transferred
copy the
new

paste
the other

place,

the

whole,

ing retouch-

junction

on

negative,
methods.
in

though
ever, How-

workers
each

prefer
worker,
in

different
this
as

other

lines, will

develop

his

own

technic.

FINE

ART

OF

PHOTOGRAPHY
of the efforts and of human

ical manifestations

beings
a

are

never

on

so

grand
vast

magnificent
or

scale

as

those that the

of the have world

to

erogenic

ethno-

genic
ages power

forces make

combined
in which the
to

through past
we

to

live.

The

required
mountain the

construct

Great

mid Pyraof the

a

is infinitesimal
to

compared
chain from

that necessary
the
to

lift

bed

ocean,
man
are

and

forces

operating
and

produce

infinitely greater
that
are

more

complex
the erection that
the

than of
a

those

responsiblefor
will thus be
has

cathedral.

It

seen

architectural

photographer
himself
"

deliberately
of
a

handicapped
"

by

the selection

small

or

small relatively
efforts
can

subject,and
be
so

the results
as

of

his

never

impressive

those
of
a

secured

where
of

the

originating forces
has

are

greater order
architectural freedom

magnitude.
worker, however,
of solute ab-

The

in his choice

subject within
for himself

the limits assumed,

and
to

can

decide

whether

he

will labor

express

the

ideals

of

past civilizations through the magnificent ruins and Greece, the religiousfervor of of Egypt
the

Middle

Ages,

as

shown
178

in the

cathedrals

of

ARCHITECTURAL

WORK
of modern

Europe,
which
our

or

the

rush

and

hurry
wall

life

find

expression in
On

the office
of

buildings of
the

great cities.
two

the

writer's
the

study hang peaked

the roofs

photographs, one
Building (page
in

showing
,

of Meissen

(page 178)

the other
its

Flatiron

190)

tall,

slim straight,

lines the

contrastingwith
trees
seen.

the twisted

branches

of

Madison These
two

Square, pictures
of mind
extent

through
the

which

it is

represent entirelydifferent
on

attitudes
to

part of the builders, and

one

that

are

expressive; the
to which

showing

the

medieval

mind,
the

the

grotesque appealed strongly,

of view
New
sidered con-

other

the

utilitarian point strictly

of the of

characteristic World.
as

great

centers

of
can

the be
case

Neither

them, however,

stimulatingas might
is either
as

be the

with

landscape,nor
say,
or a a

fullyilluminatingas,
Hals of
a or

portrait by

Frans

Velasquez
business
that
day to-

good photograph
Of old
course,

modern

man.

there is

is the

the

point

of view

advantage interpreted for us

would of
a

through architecture;it
to
secure a

be

difficult
gher bur-

good photograph

Dutch

or

Spanish grandee
179

of

the seventeenth

FINE

ART

OF

PHOTOGRAPHY
is durable

century, and

architecture
all this

more

than
an

painting.

From

it

follows

that
about

architectural
same
a

photograph
as a

enjoys
copy of
a

the

artistic status

painting"
enters
;

little
some

higher, perhaps,
extent

since

selection

to

into
no

architectural

photography
of these

but for

there

is

opportunity
is not of A
more

in either

originalthought.
writer
to

The
necessary

those

who

think

ruins

romance.

tural magnificent architec-

work

is far

impressive
its

and

more

truly representativein
state

perfection than by

in

of

partial destruction, whether

of the elements
one or

through
men;

the and

action

savage

the artist is the

who

sees

romance

in the

things of everyday
and
in

life.

Nothing ugly.
as a

is

invariably
New

all circumstances

Lower

York
from

is as
a

baldly utilitarian
River

plow; but, seen

a

Hudson

ferry-boat in

winter

its tall buildings shiningwith twilight, aglow, lightand its myriad windows blue

reflected the

deep

sky

above
a

and

the

dark

water

beneath, it

becomes

veritable

fairyland; and
would
"

though
at the

noon-day photograph
"

be

teresting utterly uninlater

to

an

artist

one

taken

180

MEISSEN BY From

KARL
a

STRUSS Print

Platinum

ARCHITECTURAL
hour

WORK
of interpretation would
at

would
of
a

be New

as

true

an

one

phase
time
be

York,
rare

and

the

same

picture of
of the

beauty.
be the

So

tural architecas
ord rec-

photography
work

may

considered
camera

highest order,
maker

user

having
of

it in his power the

to rise above

ties the banali-

ordinary

of

record
to

graphs photoselect
ment treat-

and, with
the

genuine sympathy, lighting and

what

point
which

of view, the

the
sees

will best express

he

in the

original
"

the

dreams

and

hopes,
men

the

tions aspiralabored
ship wor-

and
to

the reverence,
a

of the
to

who

erect
"

monument

the

God

of their of

whether
the is too

the

bloodthirstydeity
God
of the Middle

the

savage,
or,
as

Christian
often
"

Ages,
of the

the case,
since

the Mammon the

twentieth

century
expresses

of religious spirit in
to

to-day aiding
the

itself rather
and leaves

lifting and
lower
tives mo-

its

fellowmen,

piling of
is

steel and

stone.

Since, then, sympathetic architectural

tograph pho-

chieflya
what

matter
are

of

selection, we
most

may

consider

aspects
effect, and

likely to

afford
offer

the desired itself for

the first

thing to
of

discussion
181

is the

question

FINE

ART
The

OF
writer

PHOTOGRAPHY
heard
wished
to to

lighting.
was

once

of

man

who records

going travelingand
the

keep
seen.

of

interestingbuildings
a

be

He,

therefore, procured
salesman
to

small how

camera

and

got the

show

him

to

use

it
"

that is,to
to

load

and

unload

the

roll-holder
After

and
some

mine determonths in

the correct
of

exposure.

travel

he

had

the

films, several
and

hundred

number,
that the

developed
results
A
were

printed,
without

and

found

almost
or

exception again
but
went

excellent.

year took

two
camera

later he

traveling and
time

the

along,
and

this

the

worthless" prints proved practically

technicallygood,
On
out

but

dull

uninteresting.
latter

his

consultinga friend, the

that
on

pointed
aged, man-

to him

the first occasion

make
an

he had

to quite fortuitously,

his exposures

in such

manner

as

to

secure

impression of
on

relief in

the
was

pictures,whereas lacking, the

out

the

second

trip
A

this

buildings seeming
on

flat, as if cut

and

pasted

the

background.
that

little consideration
of in solidity
a

will show

the far
as

pearance apan

building
"

so

exterior

view

is concerned
a

"

will

best which

be

tained ob-

by choosing

standpoint
182

allows

FINE

ART

OF

PHOTOGRAPHY

lights,and
before the

even

be

photographed
is

repeatedly
for

final

exposure

made,
more

casual

off-hand

snapshotting
results than
even

is
in

no

likely to
or

bring good
"

landscape
a

traiture por-

in fact, is

less so, for be

landscape

or

portraitcan
made
into it is
a

sometimes

pulled together
with

and

picture by judiciousprinting,
to

whereas

rare

find

this the

case

architecture. A serious
fault

which
is the
to
use
a

is far too
of
a

common

in short
too
aggerated ex-

this class of work

a

lens of too
to

focal

length, due
the result and the

desire

include

much,

being

that

perspective is

building appears length

for

excessively
use a

long.
of for
to
as

It is not

generally possibleto
focal
or

lens
as

great

architecture

landscape
select

but portraiture,

it is far better
are

such and

portions of
harmonious
on

the

subject as
to to

teresti in-

and

concentrate to

the

attention the

them

than

endeavor
a

clude ina

entire will often

interior be

of

cathedral;
offer

doorway
artistic the

found

to

greater

than possibilities of
on

the whole

if building,
an

inclusion

the
an

latter
8

requires, say, plate.

In
art

eight-inchlens

X
184

10

the

ARCHITECTURAL

WORK
the
it he

part is often

greater than
can

whole. will do focal

If well

the
to

photographer
carry and

afford

several

lenses

of different
an

lengths,

the writer's twelve

or

choice for

8X10

plate would
each what tion selecon

be about

teen inches, sixteen inches, and nine-

inches worker

twenty
to

inches, though
for himself

will have best

determine

combination of lenses
class of

suits his purposes,

to
some

the

depending
the focal

extent

the

building chosen

for

interpretation.
of

Whatever

lengths
be
8X10
one

the

lenses

used, they should

be doublets, since distortion,

though

not

likely to
on an

conspicuous plate,will
of
so

with

twenty-inch lens
apparent

cidedly be dea

with

short

focal

length
lines
course,

as

twelve
near

inches, especiallyif straight

the

come

edges
than
we

of the
more

picture. Of precise in
or

the

definition

will be
in

architectural
"

work
nearer

landscape
to

traiture por-

the
more

approach

record

work
there

the is no

exact

the definition must

be; but

need of

of

using the unpleasantly sharp

so

drawing

the

anastigmat,
lenses
185

in

selectinga
one

lens the worker

numerous

will do well to choose

of the

soft-focus

available, though

FINE

ART

OF

PHOTOGRAPHY
in such

it will
to

rarely be employed
the maximum

manner

as

give

diffusion

of

which

it is

it may capable. Incidentally,

a

be remarked will be
"

that
useful

piece of apparatus
a

which

very

is

pocket
as a

electric
"

flash-lamp
for in many
be
so

familiarly
instances dark
may
as

known

squirt-lamp
of
a

the interior render

building will
desired and

to

but focussing difficult,

the
may

lamp

be
be

placed
f ocussed A
use

wherever
on.

readily

fault
of
a

which
of

is almost
too
a

as

common

as

the

lens

short

focal

length

is the
as

choice

of too

high

standpoint. Here,
than
camera

in

the photographer is apt portraiture, his

own

to consider to be

convenience
sets

more

the effect
at
a

secured, and
which

up

the

height

brings
to

the

ground glass approximately

with the result that in the the floor If
an

opposite his
appears

eyes,

slope upward
since the

print.
this fault
is

exterior

is

being photographed
camera

is of

less

importance,
from
;

generally working rapher's photogf ore-

farther indoors
a

the in any

subject than
case

when

but

it is to be

avoided, and
the

viewpoint somewhat
eye

lower

than

is usually to be
186

preferred,the

ARCHITECTURAL

WORK
foreshortened
same

ground

being

thus The

and

better
true

aspect secured.
architecture line tends
to
as

thing
"

holds low

in

elsewhere
sense

that

horizon

give a

of

height and dignity,

the

and

it is worth

noting
not

that
same

effect, though
if the whole
front of

closelysimilar, is
the
camera

the
as

be

elevated

if the

ment instru-

be lowered.

The

author
any

prefers
other that

backed

panchromatic
It is

plate to
almost

for this class of work. the

imperative
since

plate
be

be

tion, non-halain

windows

will

often it is

included

the

picture,and, though
when and

possibleto
if the

avoid

halation
effort

using

an

ordinary plate,much
be
saved
to

trouble

will

plate
As

requiresno
stated
the in the writer's is
a

especialattention chapter
"

this end.

on

Landscape
to

Work,"
that

experience
more

seems

indicate

backing
than

efficient

preventive of
for the
as

tion hala-

but double-coating, very

the latter is nevertheless

element of

good.

As

this is almost color-sensitiveness,

as

imperative

freedom

from and

halation.

Textiles, colored

furniture

dows, finishings,stained-glass winand many

187

all these

other

uses

of

color

FINE

ART
in

OF

PHOTOGRAPHY
since
a

are

frequent
texture

architecture;and,
be be well

in this

work

must

rendered,
An
a

color-

sensitive
matic

plate will
be found it is
one,

required.
used with

orthochro-

emulsion, when

ray-filter,
if the filter than
a

will often is not

but satisfactory,

used

practicallyno
whereas the without the

better

blue-sensitive shows
a some

panchromatic
the

improvement
one

and filter,
is

very

decided
In

with

if red filter,

included.
emulsion

other

words,

the

panchromatic
will

will do all that the orthochromatic

and possesses
no

and

more,

cept disadvantages ex-

that

it demands
"

total

darkness

and

time
can

development
be called

if,indeed, this characteristic

disadvantageous. happens
a

It sometimes does effect

not
own

that the will

cases

photographer
the

lens which
in such
to

give

precise
dom sel-

desired, and
be found

it will not
a

useful

employ

tachmen pin-hole at-

this

piece
one

of apparatus

having
as

two
pared com-

advantages
to the

and
lens.

disadvantage,
the first

In

place,a pin-hole
of
to

is of any
a

focal

length,thus being equivalent to

effect

battery of lenses, the only retractingthe

bellows
188

extending
the

or

being

change

ARCHITECTURAL
size of the As
a

WORK
the

image;
be used

pin-hole

has

no

focal

point.
sometimes

corollaryto this,the pin-hole may

as
an

extreme

wide-angle
a

lens, wider, in fact, than lens, should

The
other such

any
use

but
seem

very

tional excep-

desirable.
definition is

advantage
the

is that entire

the

uniform

throughout
soft-focus

the

image, depending
down

solelyon
with
a

size of the lens

pin-hole;whereas
not

stopping
also

only

alters the
very

sharpness but materially. stopped

better
than down
an

changes

the

ity qualof

In

fact, the soft-focus

to
secure

lens, when
is no field,
the

depth
but

anastigmat ;
determined

with

pin-hole the quality is

is

by

the

size,and

totallyunaffected
course,

by

other

factors.

(It

may,
to

of

happen
some

that
at

the
the

worker
expense

wishes

emphasize

plane
this

of others,

by focussing more
case

sharply there advantage

The

than

elsewhere, in which

of the

pin-hole becomes
of the the exposure of that
a

defect.)

chief disadvantage

pin-holeis

its extreme many As

slowness,
times
an

required being requiredby

a

in

cess ex-

lens. of
an

example,

pin-holeone-twentieth
ten

inch in diameter the about plate,

will need, when

inches
189

from

FINE

ART

OF

PHOTOGRAPHY
the exposure

six hundred necessary many

cases

and

twenty- five times

a

with

lens

working
be found
attachments

at

F/8, and

in

this will be

less, prohibitive. Nevertheuseful

at

the

pin-hole will
the

times,
in the

though
with
are

pin-hole
are

sold

stock-houses them

seldom that
to

desirable, the
diameters
an

trouble

being

the

of the holes
to

adjusted so

as

give
wishes

approximation
is

anastigmatic definition,which
the

what precisely The

mercial com-

worker pictorial

to
as a

avoid.

pin-holes range,
to seventy-fifth

rule, from
an

one-

one-fiftieth
uses one

of

inch, whereas
tieth one-twen-

the author of of note

an

seldom

less than

inch

in diameter.

It is also

worthy
for that

that, though the instructions

for

given
to
no see

call making pin-holes the

great

care

edges

are

clean-cut, this is by
far
as

means

necessary

so

the artist is concerned. emergency

cut
tore
a

The

writer
a

once

in

an

piece from
front of his

card-board

box,

it to

fit the
a

camera,

pierced a
an

hole in it with

and scarf-pin, the

made
so

excellent

negative

with

pin-hole
be used
are

obtained. As

regards

the

printing medium photographs,

190

to

for

architectural

there

two

FINE
the

ART

OF

PHOTOGRAPHY
that
seems

attention

is concentrated

on

lar particuto

aspect of the
worker
of work
so

subject
of

which

the

most

worthy (or,what
the final be

note.

For
to the

this class
same

oil
as

amounts

thing
of

far

appearance

is concerned, it admits be
as

bromoil)
to

is to

preferred, since
However,

greater freedom.

oil may well

made

give

straightprint exactly as
possesses those
a

inum, plat-

and

other

elements

ity of flexibil-

than
There

afforded

by

brush
"

handling.
at
one

is

general impression
"

time that

shared
an

by

the present writer

to the

effect

oil

has print necessarily and

certain process

ity granularloses
some

of texture, of the finer is not bromoil in their

that

the the

gradations of
case.

negative,but
has
seen

this

the

The
were

writer
as

oil and

printswhich

fine in texture
as

and

rendering
the of

of

gradations
true

any the

num, platipower

but of the

it is nevertheless

that

varying
manner

surface

texture

of the may be

print by
a

using

the brush
texture

great
gest sugor

value,

somewhat

loose of
not

serving to
exterior wood
any

the appearance
stone

rough

in

fashion

equalled by
192

other
for

printing process.

It would

perhaps be

well

THE BY From

FLATIRON PAUL
a

L.

ANDERSON Print

Carbon

ARCHITECTURAL
the

WORK
in both
an

worker
he

to

perfect himself
to
case

mediums,
master

unless of

chooses which

become he

absolute find

oil, in

will

that

fully
in this

satisfactory.
As
to

the of

study required
it the
to

for

success

branch
somewhat One who

photography,
on

evidently depends
chosen. of the

style of expression
work
have in the
manner

elects should

first school of the should details

accurate

considerable architecture familiar

knowledge
is based,

on principles

which
measure

be of

in

great

with

the

the
powers

profession, and
of factors valuable in
a

should

possess he
may

observation, that
which
and

be able to
most

recognizethe

will prove
to

interestingand correctly and

with

record

them

pleasing
and

manner,

in
quaintance ac-

respect of both

outlines

values.

An

the fundamental chiaroscuro which worker

to

principlesof
will be

composition
but

and

valuable;
and

this

knowledge,
to
a

is merely useful of the the

first

advantageous
the
second

class, is
of

absolutely imperative
architecture is

photographer

school, whereas

familiaritywith
necessary
to

by

no

means

the

latter,who
13

depends

on

visual
193

impressions and

FINE

ART

OF

PHOTOGRAPHY

on

artistic

conception
therefore,
at

for

his

effects. of

The

two

schools,
are

pursue

lines with each

study
other,

which
and

largely
be

variance

it

will
the

apparent

that
of

the the second artist.

first record

school

represents

sublimation worker
of the

photographer, being,
is, however,
school of the the he
on

the
other

class It

the the' elects

hand,
that

true

case

the

worker,
know

whichever

to

follow,
of

should
the of

something
in which

general

history
monuments

period
his

architectural ing lack-

interest and

originated,
the

as,

this with
he of

knowledge
the mental

consequent
of the in

pathy sym-

attitude

builders,
a manner

will

neither

select

nor

interpret

genuine

appreciation.

IX
MARINE
WORK

MARINE
as

photography
any
are

offers the
art

great
the

bilities possi-

branch few and

we

of persons

of
are

camera,

for
to

there the

who of

insensible
sea

strength
to

majesty
add the

the

itself,

and of

when

this

countless

memories

heroism
been

that

for

generation
with
"

after
"

generation
go down
to

have
to

associated
in of of

those
can

that

the

sea

ships
any
nature

we

hardly

fail

stir the
the

the

heart

who
or

has for there

thought
the

for of

grandeur
human
its weeds

nobility
beach,
"

soul.
and its

Further,
other

is the

with
sea-

sea-wrack,

its

ribbed

sand," forms,
from

exquisite curving, gleaming

foam;
there
are

water-

its iridescent which sail

are

the
or

ports great

fishing-schooners
to

liners, where
and

be

found
and

weed-grown
are

piles
dunes,

swirling water;
their
and sparse

there

the

with

beach-grass,
the
power

wind-swept,
of

harsh,
to

lonely beyond
where
"

words
in

express,

the

foot all

sinks may

ankle-deep
furnish
many

the

shifting sand

these
195

FINE

ART

OF

PHOTOGRAPHY
and

picture of great
with in the
an

enduring
at

loveliness

if
or

seen

artist's eye,

early morning
a

late

afternoon, under
in
out
a

brilliant
Yet
no one

sun

or

partly veiled
think
return to

shining mist.
on a

need and
sea,

go with

pleasant summer god,

and

day
is not who
an

dozen is
a

great pictures of the

to

for

Neptune
do

reticent

be

captured
to must

thus.

The

photographer
work
and
must

aspires
athlete,
be

the best marine

be

rejoicein danger
with the
romance

hardship,must
and and

saturated
ocean, must must

mystery

of the

know

the winds

the tides, and

be able

(no mean
between

with feat) to distinguish,

his of the
a

instrument,

the dash

heave
of
over an

and angry

swell

lazy sea,
rush and

the lift and

sweep

surf,

of water
curve

half-hidden
a

rocks, and
Some
years
a

the slow ago the

and
was

fall of

breaker. upon
sea,

writer

called
of

to

make
was

series of

photographs
the

the

and
the

favored

by by

localitychosen, by
of
a

weather, and

the

help

friend

who

knows

intimatelythe
and
seasons

moods

of the Two

ocean

and

the times

for work.

weeks

were

spent

in these

favorable hundred

circumstances, during which

time

three

negatives were
196

made.

Of

FINE lack
of

ART inherent

OF

PHOTOGRAPHY times
a

scale may has

seen

at

be

an

vantage: ad-

the writer

photograph
seems

of

dashing
fifteen actual the
or

surf

in which

the

water

to

rise the

twenty feet into the air,whereas

was

rise

not

more

than

five

or

six feet,
to
a

exaggerated
of

appearance
not

being
more

due

the
foot

placing
from line low

the

camera

than the

the

ground,

thus

throwing
of

horizon

in the

picture.
rendering
the
to

truthful and well

relative

values

in

the water
it is often

sky
have

is

usually desirable, but

rocks, especiallyif
darker than

the

in the immediate

foreground,
be
"
"

they
the

should

properly

thus
and

emphasizing
this state the

brilliance
may

of the surf

of affairs verge
on

be secured

by having
within

timing

under-exposure,so
the

that the the

lighterportions of straightpart
the lower values.
of the the

picture fall
and
areas

Hurter darker thus

Driffield

characteristic within

curve,

coming
obtain

part and
It is also

compressing

the shadow this effect

to possible

by multiple printing,

gum-platinum perhaps, this not only giving ing additional weight to the darks but also increasthe of brilliancy the
198

lights.

MARINE
It is necessary the water is
"

WORK
,

to

give

sense

of
move
"

motion
and

to

to make
a

it appear of

to

this

partly
at

matter

composition
The when exposure the
mass

and

partly a
should
of

question
made is

of
an

timing.
instant
an

be

water
a

evidently in
can

unstable with

position
"

if such

term

be used still
"

regard

to

an

object which
be

is

never

and
moves

the

timing
It

should

such

that

the the

water

slightlybut
is
the exposure focal the

perceptibly
be, since

while
state

shutter

is open.

impossible to
the lens and the
camera,
one-

exactly what

should

this
on

depends
the

on

the

length of
surf
to

distance

from

but

roughly speaking one-twenty-fifthto

a

of thirty-fifth

second

will

secure

the
of
not
a

desired arrested

blurring and
motion,
so

avoid the

the

appearance

that

picture will
Whistler
he
on

incur

the
rine ma-

reproach
the The

visited

by

certain

painting,when
on canvas

rapped

with

his knuckles "Tin!" of

cats

and

remarked, laconically
who
not

photographer
marines
must

is ambitious

doing
in his from
to

good

have be

any

ancestry; he should
a

rather

descended

long

line

of

ducks, for
wet at

it is The

impossible
most

avoid

getting

times.
199

favor-

FINE

ART

OF
for

PHOTOGRAPHY

able

occasion after
to
a

making

pictures of
and

surf
sea

is is

just
apt
think but reach done
use a

heavy storm,
well

then

the

be

treacherous; the photographer

may

himself
an

beyond

reach

of
may

the

surf,

exceptionallylarge wave
from lens low of

possibly being
One
closed en-

him, especially since, the best work

a

view-point,it
great focal
uses a

is

impossible to length.

very

famous

worker
with

at times

box

camera

water-proof
a

material he

and

anchors
on more

himself than
over

with

rope,

for

finds that broken

well

one

occasion

surf

has

completely
for
a

him.
"

This
even

is all very

small

surf
and

though

then

particularlyrugged
to

sturdy strength is
treatment
"

necessary
case

withstand
a

such

but

in the

of

large sea
never

it would lived
who

inevitably be
could

fatal; the
the
force

man

survive he would

of
be

really

powerful
into the

surf
air
a

"

simply against

whirled rocks
as

and

dashed

the

easilyas
One
at

feather. be work

must

prepared
than for in it is of
a

to

waste

more

plates
of

marine

any

other

branch
to

photography,
what the

impossible
wave

predict
it is

final form

will be, and

200

MARINE

WORK
the the tion frac-

always
of

necessary
a

to

start

exposure
wave

second

before
to

has
nervous

reached
and

the desired muscular

form,

allow

for the and

lag
the
well

of the individual
camera.

ical the mechandoes what

not

lag of promise
desired indeed
worker

A
turn out

wave

which
be
very

may
one

to

just

is

and
may
must

which

seems

promising
the in all

fall far short

of the

ideal; but

photograph both, and,

little better."

ability, prob-

many for said

"

others, for he will continually hope

a

one

just
every

It is

commonly
the

that

seventh
but

wave

is

larger than
no

intermediate
for

ones,

this is

by

means

true,

the
the
wave

interval best

is variable

and

indeterminate,
of in

and each which

of

plan
out

is to watch
at sea,

the formation
the
manner

far

noting basing

it

approaches
size

and
on

one's

estimate
at

its

probable
The
camera

its appearance
course,

this in and
wave a

time.

is, of
"

placed
so
"

selected
the

position
is

or

approximately

shutter

before tripped slightly

the

reaches
to

its proper
tell how

pitch,experience alone
allowance different
must

ing avail-

much

be

made,

for the

lag

varies

with

individuals.
of

When

considering the preparation

201

this

FINE
book ablest

ART

OF

PHOTOGRAPHY
it best to ask marine
to

the writer and

thought
H.

one

of

our

best-known

photographers, give a description

the

Mr.

Bertrand of his
manner

Wentworth,
of

approaching
very

problem,
so.

and

Mr.

Wentworth

kindly
do

did

The

author
Mr.

feels that he cannot

better than
it not which

quote

Wentworth's
many

reply in full,since suggestions

the

only
not can-

gives
affords

valuable be

fail to

helpful to
who
any

student, but
the

also

considerable of the
man

insight into
has other done

mental

attitude

finer marine worker

photographs
of whom the

than writer

American

knows.

My

dear Before

Anderson: you you

come

to

your

chapter
have

on

marine

tography phothe

will doubtless of of the them

dealt

fullywith

general problems
once

out-of-door

pictorialist.I question,
it?
" "

heard
I know
even

one

put
I

the
see

How

shall
answer

picture when

One

cannot
countering en-

so

simple a question
of difficulty and kindred

as

that

without

the

accurate

expression
to

in

writing upon
that
art

art
no

subjectsdue
of its
one

the fact
answer

has

terminology
is

own.

My
finds

to- that

question
awakened

that, by

when

agreeable
those

emotions

objects
202

in

nature,

MARINE

WORK
the of possibility
"

objects contain
There and I borrowed

for
"

him

picture.
the

emotion
a

from with

the

psychologist,
but

probably
first

have

quarrel

him,

man lay-

will understand. The for qualification

to

the if he

is, then, pictorialist

be
not

sensitiveness that he

beauty, hope

and of

gifted with
must

is without

success.

He
or

further in he

recognize clearlyjust
nature

what the

objects
emotion

conditions

give impulse

to

he powers

feels, and
of the

is

doubly gifted if
these of
may

he has

natural
To

analysis,

but

be
to

acquired.
the

develop
of

tion applicanotion

these

problem

recognition of the
some

pictorial,one
of what

should

begin
when
to

with

clear from the its

beauty is, for

of
an

he

passes

tering regissource

emotion
to

the

recognitionof
facts. To

he

begins

deal

with

natural

me

the

beautiful

is the
a

typical,and
in it which

the
to

first
a

stage

of

the

study

of

pictorial subject is
element the

gain

clear conception
a

of the So far

approaches

type.
goes for

experienced and
is often

gifted worker
Even

and swiftly,instinctively, him of the

next

unconsciously.
slower
to
"

stage
is not chosen. his

the

elimination
the

all that

essential To for

the

expression of
of

type-beauty

his

gift

sensitiveness to
sources

beauty
he
must

and

talent

recognition of its
self-restraint.
truest
to

add find his

patience

and

Rarely
at

will he

typical aspects
203

type

the

FINE
time than when he
not

ART

OF

PHOTOGRAPHY
their wait

first he

responds
will have

to to

beauty long
may be
so

much the

of tener moment

for be

the

extraneous

matter must

successfully
that he will for

eliminated. be the
content

His
to

standards

high
or

wait

hours,

days, months,

years

final Command

perfect result.
of his tools in
are

he
;

must

acquire,but

I rank

this third

importance
so

and

because vital
to

perception
his than
success, to

and his

analysis
time of
a

much

more

will be varied
more.

better

devoted
"

to

them

mastery
is better

technique
I
am

of

technique,enough
now

than

speaking
of

of

nique; photographic techcan

the
never

technique

pictorial composition

be studied
some

enough.
manner as

In have

such
the

this

assume

you

will

covered

broader
to

aspects of the
his
or

landscape
The
liar pecu-

pictorialist's approach problems

arise from of All this
a wave

problems.
shore the

of

the

marine of

photographer
the of
Let
us

the

immensity
the

spaces,

ance abundthe
sea.

light,and
make

incessant

motion

three

elimination
to
a

difficult.

apply

statement

concrete

example,
Let
us

for

instance,
that
that
we

of found

moderate its

size.
to

suppose

have
power

beauty

lie in its power;

wave

this

is felt because

the

rises

high
The

and

reveals

its great mind is

weight

as

it falls forward. with

204

observer's

fully occupied

these

perceptions, and

FINE
Another

ART

OF

PHOTOGRAPHY
A

example.
headland

very

bold
Here

cliff the
must
as a

foreground,
sea

with
must

great
be

beyond.

interest

subordinated1, and

choice

be

made

between interest. space of

foreground
If the

and

headland
be

dominating

foreground

chosen, give it ample

more

and
sea,

detail; leave

little

than

suggestion
of the

the

sky
as

and

headland.

The
of the

choice

foreground only
the

the

type-beauty

picture is justified
one

if that

type-beauty

was

the
in
a

which

gave tially par-

picture impulse,as
concealed

it would If the there

fog which
be

all else.
an

headland that

chosen
as,

it must
for

be

for

interest the

dominates,

instance,when
and late

foreground

cliff is in afternoon
on

shadow Clouds action for

high-lights are
the the

the

headland.

just beyond
would
a

headland
interest
"

would
and
so,
a

help;

sea

divide

quiet sea

such

picture.
of the photographer's difficulty is
ever

The of

marine the
to

sity immen-

spaces

present, and
His

always tempting
of

himi
of
must
course

try
most

the

impossible.
in

excess

lightis
when he

troublesome
all to

midsummer,

work,
and

if at

advantage, long before

The for

fast break-

in the very shore

are

late afternoon.

fall months

at

the

best, as
the
New

elsewhere,

the

lighting

problems.
too,
there the
may

On

England
winds

coast

they bring,
the
summer

most
come

typical seas.
occasional
206

Through

maintaining their

EASTERLY BY From BERTRAND

a

WEATHER H. WENTWORTH

Bromide

Enlargement

MARINE

WORK
direction
seas

power

long enough
as
a

in the

one

to
are

build

up

some

surf, but

rule

summer

simply glorification
lakes ; the

of the sailors call

types
"

one

finds

on

inland The

them

deep chops."

forms
are

are

broken, inconsistent,accidental.

There

notable

exceptions.
The

great pictorial opportunitiescome

storm
"

when
"

great
sea

passes,

well out

to

sea.

Then

the

ized organ-

of the often

painter'svocabulary
under clear the

rolls in

smooth,

oily water,
as

skies, and
No sea's

rises incredibly
one ever sees

it in

approaches
the
presence

shores. of this

the

sky

commanding
can

interest, and
be reduced
to

its space
the

in

the
or

picture
lost

therefore the
a

minimum,
very
then

in altogether such the

white
sea.

fog
The

that
sea

will

likelyaccompany
be reduced
to

line may
to

merest

fraction

essential these is not

seas

stability.
new

But
of view

bring

problems.
if
sea
one

The

low

point
era, cam-

so

easilymaintained
The whole

values

life and white with

limb.

picture becomes
beautiful

the

violence

of the

action; the
of
a

patterns
the
water

of foam of

against the
the
"

green

curlingwave;
in the the smooth
new

reflections ahead

breaking tops
these
are

of them

lost ; and

and

perhaps long-wished-foropportunity finds

confronted with

the worker which he

now

entirelynew
207

problems
I
am

to

brings

no

adequate experience.

speaking

FINE
of such

ART

OF

PHOTOGRAPHS
in decade

grand

sea

as

comes

once

or

twenty-five years.
The the tide the from best

period

for

study

of

an

organized
of the All

sea

is

three
and

hours the

including the

last two tide.

coming

first of the tide the

receding

through

coming
the

wave-action This

gains

momentum

tidal

action. the

momentum
sea on

carries the the

the
two-

type-action of
hour action the
most

organized
top
that of the
come

through

period
is

at

the

the

tide, when

tidal and of the

slight ; so

maximum in the

is reached first hour the best

typical formis
In
a

ebb-tide.

grand
with

sea

period

pictorial
the
sea

opportunities come
is still green. action If
or

its first tides,while

violence of the

Later
excess

the

continued

brings an
one's

of foam. surf

study
and

is of

against outlying rocks,

are

shores the

headlands, there

many

exceptions
These
must

to

above

rule when upon

applied to

wave-action.

exceptions depend
discovered

local conditions, and Find

of
an a

be each

by patient observation.
near as

for

subject as
tide

may

be

that

moment meets

coming

when
"

"

an

irresistible force
a

immovable

object
The that and
a

with

result. pictorial
moments

critical

in
camera

sea

action is best.
more

are

so

fleeting
for

hand reflecting

Even

them,

always when

the possible,
208

deliberate

study

MARINE
with stand

WORK
is desirable.

camera

Orthochromatic
screens

photography
used when

is

and indispensable,
motion

should

be

light and
their used of for

admit.

Anastigmatic
Soft-focus
more

lenses have

place in
with

the work.

lenses their many

should

be

discretion, and
focus

for

properties planes
One he
can

distributing
their other

through

than
never

qualities.
a

fully acquires unconsciously in

his lenses until
terms

new

language
so,
one

until
never

think

it.
can

Just
see

fully knows

he

his

subjects
I
use

quite unconsciously in
three

of

his

lenses.
one

types

of soft-focus and!

lenses

often, and

anas-

tigmatic lens give

me

occasionally.The pin-holes
focal

lenses
to

six I

different

lengths,from
to
a

16

inches,and
choice

apply usually
a

them

4X5

plate.My
tions. consideraand

of this size is For

a

compromise
I carried it better the

of many
both
to
use

long
I
now

time think

6%X8%
one

^VlX^l/i'
and the

size

only,

best

reason

is not

saving

of

trouble, but

the

reducingof

the

complexities.Thinking of pictures
is posangles and properties sible And I think

in the terms

of one's lens
one

only if
craft
as
"

limits their number.

a

of my

not

steam-plow
as

propositionon
kind
of

western

but prairies, in which and one's

rather crop

-an

intensive
success

gardening,
on

of of

high

depends
a

patient

intimate
14

study

subjects in
209

small field. That

FINE

ART

OF

PHOTOGRAPHY

is

why
over

am

content

to

turn

the

same

ground
my

over

and

again,

here

at

home

and

on

little

island.

Yours

faithfully,
WENTWORTH.

Merely
are

adding enlargements
with take this

that

Mr. in

Wentworth's

prints large
a

all

relatively by

sizes,
of

we

will,
craft,

discussion
of

master

the

leave

the

subject

of

marine

photography.

FINE
of

ART

OF

PHOTOGRAPHY
motions

means

analyzing
rate

which,

either

through
their
eye, and

their

of

progression or
be
a

through
the of record

obscurity,cannot
of

appreciated by

securing
Thus,
and

permanent

such

motions.

it is

rapidly
analyze
render the
manner

by photographing possible, projecting slowly, to

a

projectile trates penearmor-plate,by reversingthe process to folding appreciable the development and unthe X-rays to of a flower, or, by calling
in visible form

in which

our

aid, to record
of

the

peristaltic
has nothing

movements

the

stomach

during digestion,

but this
to

phase of motion-picture work

with

do

art, and
of the

side consequently lies out-

the scope One

at

present book.
astonishment

often

hears of

expressed
at

the

popularity
which

the

film

drama,

the

numerous

motion-picture
attend
means even
a a

theatres but this

and

the

crowds

them,
cause

enon phenomto

is by
one

no

for wonderment

who

has

slight knowledge
the fundamental
as

of psychology.

One of the the need

of

ments requirefor excitement.

not

human
or

system,

imperative as
need

for food
Our

is the sleep,
ancestors
212

Puritan

did

appre-

MOTION-PICTURE
ciate this fact, but harmless
wrong, it

WORK
ever all diversion, howas

looked

on

might actually be,

to
us
a

morally
beliefs
in

bequeathing
this attitude

set

of

which

figures largely. Many

and
means

viduals indi-

satisfy this perfectly normal craving

alcohol
some or

stincti inof

for

excitement

by

other form

narcotics, by gambling
of vice, and
such

or

by

other

gratification
is anti-social, of

is

unquestionably immoral,
or

for, being physically

it financially injurious, what

constitutes
we

this

being
than

the

impropriety
excitement

conduct

which

term

immorality.
and

Others,

wiser

these, find the necessary adventure,

in stories of in outdoor
some

others, still wiser,

must

sports, but everyone

or

have

it in

form
are was

other
be

if

physical and
The obtain it from

mental writer's chess

cures se-

health father and

to

maintained.
to

accustomed

from

the trout-fishing;

writer

himself and

it from
a

hand-ball, swimming
statesman

fiction ;

famous

American stories
of

got it from

tective deso

the

dime-novel

class; and
and

on.

But
way

the
at

cheapest,most
the

accessible time is

est easithe

present

through

screen

drama,

for the

producers
213

of the motion-

FINE

ART

OF

PHOTOGRAPHY
themselves
to

set picturehave deliberately to

cater

this

omnipresent craving, though

if for

it may

be

doubted

they
the

have

realized
of

the

dation psychic foun-

popularity
It

the

type of play
among
a

most

in

favor.

is the

fashion

certain

aesthetic
class of

fined) (and perhaps slightlyover-re-

individual
raw

to

decry
to

the the

"

ies," mov-

as

crude,

and and full

appealing
raw

lower

emotions.
of and

Crude
are,

the

vast

majority
of truth

photo-plays unity,
the but need.

of

violations

they
One

nevertheless of the ablest

satisfy an physicians
enthusiastic another of

elemental
of
"

writer's

acquaintance
same

is

an

movie

fan," the

is true
a

of

the
man

writer's and and of

friends,

very

capable
of

business ature, liter-

enthusiastic
the writer careless of

student

English
detail

himself, though contemptuous

inattention and action
to

the

and

the
of

crudities
most

plot
screen

characteristic
still sits
on

of

the

dramas,
the hero

the
over

edge
the does
feet
two

of his chair

when

triumphs

villain
at
a

in

the

last

act,
or

fast

sparring bout
the bases

precisely as he leaps to as

he

his

and
out

yells when,
and

in the ninth

inning, with

full,a pinch hitter drives

214

MOTION-PICTURE the ball fence. right-field

"

WORK

over

No,

the enthusiasm than

a mere

for the

movies
mind and

"

goes

deeper

emptiness of
Two The

lack of mental
all

resources.

things greater
first is Love and

than the

things

are

second

War,
realize these

and

the

producers
in

of

photo-plays changes
on

this
two

fully,for they ring

themes There which

the

unending
are

succession. communities
a

but

few

in this

try coun-

are

without

motion-picture theatre,
be
seen,

where

the best films

is within persons for

may

and

the

price

of admission

the reach
will go
or

of
to

nearly everyone.
see a

Many picture play

who
would for

motioncents two

fifteen

twenty-five
there
to

hesitate
theatre
as

long

before

spending
are

dollars
so

tickets,and
be unable the
a

many
a

situated For in

to

get

to

real

theatre.
summers

example,
a

writer

spends
miles

his
or

small

town,
theatre
or

hundred

so

from

the nearest
are

of

importance

; the

inhabitants and have few

more

farmers

small

merchants,
a

of them

get
a

to

the

city once
to
a

year,

or

than There

few

dollars

spend

when

they

do.

is,however,
215

motion-picture

FINE

ART

OF films films

PHOTOGRAPHY shown those that three

are

theatre, where

are
are

times
shown

week, and
in the have

the

which

so large cities, no literally

these

farmers, who
to

opportunity
the
as

familiarize
on
tion-picture mo-

themselves the
same

with

stage,

are

nevertheless
so

plane

city dwellers
are

far In

as

plays
cases

concerned. is

such send, Godit

can

the for

cinematograph
no

absolutely a experienced
life.

one

who

has not

have the
we

any New

conception of England
the basic

the utter

monotony Here,

of

farmer's
cause

then,

have

for the it is

popularity of
human

the

play : motion-picture

cheap, it is readily
a

accessible, and
instinct.
We may
now

it satisfies

normal

take

up

the

and failings

comings shortthat

of the
most
"

producers.

It will be found

of the

proximate
the
one

faults of the tremendous

photo-plays
the failing,
to to

excluding
of the

lack

spoken
In

word
mad has

"

are

due

excessive

popularity.
films everyone of

the who

scramble
even

put

out
ception con-

the remotest

dramatic
everyone

situations
with
a

perpetrates
mobile
tenance, coun-

scenarios; and

athletic

abilityor
216

attractively curly

MOTION-PICTURE
hair
secure

WORK
.

can

obtain
in other

salary greater
the

than

he

could
of

walks

of life,to say

nothing

ticklinghis vanity through

his and

reproductionof
of his admirers,
amount

photograph
of

or

the adoration

securing an
to
;
no

altogetherabnormal
course

of excitement necessary

in the

of

acting.
to

It is not

be crude
more

in order

stir the
scene

deep
II of
a

emotions
found
"

exquisitelove
than
nor

is to be

in all literature and

tense

the

one

in Act

Romeo

Juliet,"
and

does

there

exist
situation
:

more

thrillingdramatic
culminates
watch

than

the

one

which
stand

in the words

As

I did

my

upon and

the
anon,

hill,

I look'd The wood

toward

Birnam,
to
move.

methought,

began

But

not

everyone
nor

among
are

the the

play-wrights
and the

is

Shakespeare,
of the
screen

actors

actresses

willing to undergo why

fame
more

long
can

and

arduous
a

apprenticeship which
actor
"

alone for

make when of the

great
can

work and

hard

years

one
"

achieve
or,

fortune

by

means

stunts,"
of

simply yet, through

medium of

custard

pie?
217

So

we

have
true

ties crudito life,

plot and

action, details

not

FINE
false and has
seen

ART

OF

PHOTOGRAPHY

unnatural
an

(the writer cross-lightings

face
in
an

actor's
sets

out-door the
all

scene

with

two

of

and high-lights,
came

catchin

lightsin
the world

the
"

eyes

from

"

of of

things

floods foot-lights!),
and

light which lightingin

attention

destroy modeling,
the
same

variations

of

scene.

Some
not

make-up

being thought

necessary
were

(itwould
to

be, if proper

paid
actors

the

purely photographic work),

overdo
a

the

and whose

actresses

it until

we

have

ingenues
and of the
"

eyes

suggest
are

tion nephriticcondi-

villains who
"

the

counterpart of him
"

ten-twenty-thirty-cent Desperate
" "

stock

panies com-

Desmond
"

is familiar But

to

all

frequenters of
of all is the
on

movie
"

theatres.
when
means

worst
paint war-

vampire
could

;
no

she gets her

seduce

she

by

anyone

not

in

an

advanced

stage of chronic
of the

alcoholism.

Then,

too,

being deprived
and

spoken word,
across

the actors

must

get their emotions

purely passions
of

by gesture
torn
arms

expression,so
facial

we

have

to

tatters, frantic

wind-mill

gyrations

and

legs,and
of
"

contortions

strongly gasoline

suggestive

pink alligatorswith comedy!

218

eyes."

And

the

Necessarily,pan-

MOTION-PICTURE
tomimic

WORK
.

comedy
this,let him
" "

is

buffoonery
to

"

if
"

anyone

doubts
to

try
The

imagine
for

She

Stoops
"

Conquer
screen
"

or

School
are

Scandal
not

on

the

and

there

probably
in the

half

dozen
screen

really funny comedy

to

buffoons

world,
cases

so

in the vast

majority
movie
"

of

longs beof

the

ash-can-and-custard-pieschool
the
"

art.

Altogether,
a

drama

of and

the
on

present day is
the
rare

rather when

distressing mess,
one

occasions

finds

play
acted
a

which and

is well well

written, well
one

directed, well

photographed feeling
of
a

experiences
who had

dous tremen-

gratification. Charles
director
a one

Van of his

Loan
actors

tells

of

lie down the

snow.

in

snowstorm

for several for him

to

hours buried

because
in the
"

called 'script
The
to
actor

be

remonstrated:
"

I'll freeze
let
me

death," said he.

and
you

Why
snow

can't

you
on
"

lie down
"

have

the

piled
the

top of me?
It

wouldn't

look

right,"
thousand

answered

director.

"Not
know
"

one

man

in ten

would

ever

the difference."

Maybe

not," said

the
219

director,

"

but

I'm

FINE

ART
for
or

OF
the may

PHOTOGRAPHY man." would This that

working
story may
we

ten-thousandth
not

be true, but like this one!

had

more

directors

It must,
to

however, be admitted
the

that in

regard
writer

the

quality of
several
almost
not

acting,the motion-picture
The
in which

is

if slowly, improving. steadily,

seen

has

photoplays
in
a

the actors
it

behaved
seems

natural that
at

fashion, and
some

improbable
than

future

time be
no

the
more

gestures and
violent

facial

expressions may
to

is necessary

convey

the

desired

emotion. serious is
run

Another

fault

in many

photo-plays is
This
"

that the action

not

off too

rapidly.

does but of

refer

to

the

relativelyunimportant irritating
"

nevertheless

somewhat
actors
cannot

mistake such

allowing
that the and

the

to

move

with

speed
tion mo-

camera

their fullyregister

the
error

figures become
of
a

blurred, but
too

to

the

greater
into
too

crowding
time,
so

extensive

drama

short

that the action

cannot

becomes

confused

and

the
can

spectators
do
so

completely
an sive exces-

follow

it, or

only through
It

effort

of

concentration.

is

perhaps
that

natural

mistake,

when
220

we

consider

the

MOTION-PICTURE
whole take rise play, the inception,

WORK
.

and
or

climax,
an
or

must

place
of

within

half and
"

an

hour
a

stead hour, intwo

the
on

hour

half
must to

hours
so?

allowed Is it in

the

stage

but

it

reallydo
the

truth their

necessary

hurry
that the

actors

through
cannot

parts

so

fast

audience
"

fully grasp only

the if two

what

is

taking place
to

can

catch

high spots, plays

can can

so

speak?
off
;

dently, Evining, eve-

be

run

in

an

the theatre
it not

be

filled twice
in
a more

but

would natural

be

better

to

proceed
audience

fashion, allow
a

the

time

to

follow, in
the progress

contemplative or receptivemanner,
of the

drama, and

so

leave

better, because
has
"

deeper, impression?

The

writer

seen

photo-play advertised
time would
one

in these

words:
"

Screen
and

hour

and
see

forty minutes
a

he

far rather

play
Of
"

in which
one

the actors
in which action

walked

through

their parts than

course,

they pranced through.

must

rapid
not

proceed rapidly
a

men

do

lounge

through
does
a

fight but,
"

on

the other each

way

hand, lovers
other's
arms,

in real life do not

nor a man

gallop into
his fighting

into the teeth

an

of

storm

walk

at

eight
221

miles

hour.

FINE

ART

OF

PHOTOGRAPHY

"

Gently,

my

boy, gently!
her
more

Don't in the
a

frighten
manner

the
a

lady! Approach
well-fed of cream, upon To
sum

of bowl
ing pounc-

house
rather
a

cat

approaching
like
a

casual

than !"

hungry dog
drama

bone it up,
an

then, the
excess

screen

is suffering the

from

of for for

popularity, and
is the better

best
of
a

that

we

can

hope

gradual things, a
to

rise
mand dea

popular
which

demand
cannot

possibly fail
the

produce
of the

salutary

effect.
now

Turning
let this mode find
means
us

to

brighter side
what the

ture, picWe
no

consider of artistic
outset

of possibilities may be.

expression
that its for
no

at

the

very

analysisis by
art

easily formulated, development

it. that

the
one

is of such

recent

has

yet fully

explored
The

most

conspicuous
in the the time former of

difference

between

motion-picture photography
kind
motion the is that
at

and

the

ordinary
were

objects which photographing

move.

in in pear ap-

seem,

finished
so

picture, to
as

This

may

obvious

not

to

deserve

mention, but
than

it is,in

of reality,

far greater
222

importance

MOTION-PICTURE

WORK.
of the

most

persons

realize, for

one

principal
artist is

limitations

against
the

which

the

graphic

to depict motion, obliged to struggle is his inability

and
under of

consequent
to

necessity he
suggest
it.

labors Trees ing beatthe

endeavoring
and

bending
on

springing

in the

wind, surf

the

rocks, clouds

drifting across
and

sky, figures walking, running

other
acts
"

performing
an

these

all aid in
so

building up
us

sion illuof be

of nature's

realityand by

making
and

sensible
can

impressiveness,
means

these

shown

of the

motion-picture. Size,
motion
are

stereoscopiceffect, principal factors originalmore

and
are

and

the make

three the

which

operate
the

to

impressive than
of these power is the
case

pictured representati
the the last
two

three
of

more

within
to

the

graph cinematoany

show
medium. of

than

with
two

other

graphic

Since, then,

of the

chief
the

limitations
very artist
essence

graphic
to

art

are

removed

by

of the

medium,

it follows his
out

that the
on

is free
matters

concentrate to

attention

other than added

and

follow
other
at

larger

ideas
An

when power

working
is

with

processes.

placed
223

his

command;

and

FINE

ART

OF

PHOTOGRAPHY

though
"

he loses the
"

one

qualityof

still photography of

namely,
texture

aesthetic

value
more

superficial
sated compenbeen It has

print
said

this loss is

than

by
that
secured

the
a

accompanying motion-picture
seems

gain.
may

stereoscopiceffect
work
from arise

be

better
in

in

than the

still

art, and
the

this

to

fact that
in relation

figuresmove
to

within

the

settingand
individuals

their
of

surroundings,
and
behind
or

passing
other

in

front
and

objects and
from the

ures, figthey
Of

growing
or

diminishing in

size

as

approach
course,

recede of the

camera.

much

effect stereoscopic
on

in cinematography

depends lighting,but
grasp is not.
a

trick-work is

with
within other

the the

this still

portion

quite
the

of the From

photographer;
and

part
sults re-

this

effect stereoscopic

there which

feelingof depth
to
secure

enveloppe
an

it

is

impossible
and illusion of Another

in

ordinary photograph
producing

which

goes

far to aid in

an

reality.
of

factor of the
over

importance

is the

greater

brilliance

picture work
of the

in motionimage obtainable that possiblein a print. One

characteristics distinguishing
224

of natural

FINE

ART

OF

PHOTOGRAPHY

very

far
no

from

agreeing
be

with

Ruskin's
unless

dictum it
tains con-

that

picture can
but he does

truly great
some

human

figures or

suggestion
of all the

manity, of hu-

feel that of the The

subjects
man

fullywithin
is the
most

the grasp

graphic
the

artist of

impressive.
instances express,

grandeur

ture na-

is in most the

beyond

power

of

artist to
on

depending,
;

as

it does, of of

largely

magnitude depends,
on

but
on a

the

grandeur

humanity
action, but

not

gigantic scale
the and artist. soul
as seen

the

majesty

of

in its outward seized human nature's is the

on a

manifestations,
the

this

can

be the

and

represented by
is the most

Since

being only
scale

freelymobile
and is

of all of

grander manifestations,
one

since

he

in which
to

grandeur

expressed
emotions

comparable
that

the scale of representation,

acts

it follows
are

human
to

and

peculiarlyadapted
the

motion-picture work
their

of

higher sort,
forms

and

that

tion representathe motion-

properly picture artist

results. The dramas
writer
are

the aims

subject of
at

who

the

finest

possible

and

the

actor

of

motion-picture
to

restricted necessarily
226

the delinea-

MOTION-PICTURJE
tion of such emotions and

WORK
be

as

can

conveyed
be

through gesture
brief in
a

facial

expression,aided by
which
can

explanatory
few

sub-titles

read

seconds,

with
the
more

the

inevitable

quence conse-

that

only

objective and
shown
on

mental ele-

emotions
Abstract the
as
"

can
are

be

the the

screen.

ideas

quite beyond
such

power

of

movies," but

emotions

and

sensations

hunger, fatigue,fear, love, anger,

sorrow,

hate, jealousy,

joy

and

the

like,are

quitereadily
what
with

conveyed,
of melodrama

and

this fact
among

explains the prevalence

we

photo-plays,for fundamentally
A

call melodrama
more

deals

the fixed
not

primitiveemotions.
which the the until

limit is thus
may
a

beyond
go

motion-pictureartist
when and science

day

gives us
and
not

fectly per-

modulated

perfectly synchronized graph, phonomerely

of
"

combination
when

of the

motion-picture
"

movies

will

equal
the

but

will

actually surpass
circumstances
above
use

the

drama

stage.
are

There

two

which
the

favor

the and it is

motion-picture worker producer

these

dramatist

who

make

of the

stage, and
with
a

which

will, in combination
227

sound-

FINE

ART

OF

PHOTOGRAPHY

reproducing mechanism, cinematograph play to

The
first

eventually
the

lift

the

high

station

told. fore-

(not altogether
but the

inherent

in
on

motion-picture work
the

depending partly
drama,
with

popularity production)
crowd

of

screen

the

consequent
of
more

large sums
is the

invested

in the business

of employing possibility
a

spacious settingsand
: a

larger group
crowd,
not
"

of

actors

may supers
an

be

real
"

merely
in different army;

half

dozen

crying
army may

Hurrah be
a

voices;
supers the
may

real

be

chosen

because
so on.

they represent
In
a

desired
to

types; and
this be

measure

related

is the the
one

other

circumstance:

the

settingmay
the

actuallydesignated by
needs
to be
run

for play-wright,

the action
and

through
which
scene

but

once,

settings are
the be

available

would
in
a

be

impossible on
camp may

stage.

lumber in
a

staged
may

in the

woods,

one

railway place
at

station

be

graphed photoposed supbe

seen

in
to

railway station, and

the shore.
From
as

action
may

take

seashore

played
that
of the

at the

this it will be
as

the

advantages

well

the

limitations
to

motion-picture drama
228

tend

force

the

MOTION-PICTURE
action
not

WORKof the
to

into

the

realm
nature

objective,for
when
most

it is

in human

restrict oneself

tarily. volun-

Scenery
ideas
are

is not

necessary the

abstract

dealt

with, and

lofty and
world
"

magnificent subjective dramas

ever
seen
"

the

has
were

the
a

old

Greek
even

tragedies
to

enacted may

on

stage bare
if
;

emptiness.
have

It

be doubted
use

they
in

would

gained by
the Elizabethan the words, "-^was
tions emo-

the

of scenery

fact, it is practically tain cerhave

that

they

would
"

lost; and
with
a

scenery
"

notice-board
"

This

is

Wood,"

This

is

Palace
of human

ample

for the
found

stupendous play

in

Shakespeare's tragedies.
expect anyone
his
to
nor

We

cannot,
aid the

however,
him

discard
can

the but

given
most

by

medium,

any

highly gifted and help and

of the shades becomes

well-trained
adventitious

artist

the point distinguish

ceases

at which
a

aid

to

hindrance.
too

When
far the

the

inclusion

of scenery

is carried

attention the
finer

spectators is distracted
of

from
more

expression,only perceived,and
the the

the

obvious the whole

phases are
drama
it is

plane

of

falls from

to subjective

the

objective;so

evidently
229

incumbent

upon

FINE
the

ART

OF

PHOTOGRAPHY
that the

producer
from

to

see

setting does
there in

not

detract little dramas

the of

play. However,
such
a

is but
case

danger

result

the

of

of action. has been

Enough
mediums and
that

said to show
is
one

that the

the

tion-picture mo-

camera

of

strongest

of artistic the

expression available to-day,

of the

greed

producers

has

so

far it

prevented
might
"

it from

accomplishing
"

all

that

have
we

achieved.

Why,"
and crowd

they
the out?

argue,

should
of

spend
when
are

money
we can

time

producing
theatres

works with don't is

a

art
we

what
want

now

putting they
want true

People
This

to

see

art;

thrills."
art

fallacious

argument:

may

be

as

as thrilling

poorer

stuff, and
can

the

public will
"

go

to

see

the best

that

be
crude

obtained
and
raw

deed, will, in-

prefer
human
more

it to
that

the the be

product,
and
It
tial essen-

provided only
than

fundamental

appeal
fair to

kept
that

intact.
the

is

no

admit

enterpriseof
for the later that fine and
as

the

producers has paved

will crowd

the way

adventurers, but it is equally true

lofty drama

the houses
or

surely as
ap-

blood-and-thunder

plays
230

the

lascivious

SYCAMORES From
a

Bromoil

Enlargei

XI

PORTRAITURE

THE
to

fundamental
a

purpose and

of

portraiture
likeness

is

furnish the

complete
This
may

satisfactory
seem a

of

sitter.

platitude,
often

but gotten forthe

it is worth in

emphasizing,
the

since

it is too

photographic
who
is

world,

both
an

by

professional,
map

apt
as

to

regard

accurate

of the of his

features

constituting by
the for

the

end

and

aim who

work,

and

advanced

amateur,
quently freso

in his

enthusiasm
all other
secure

pictorial effect
and

ignores

considerations
a

neglect
has
no

or

fails to

likeness.

The when

author

hesitation
of the
a

in
case

saying that,
prevent

the

gencies exia

attaining
former

both

picture

and

likeness, the
be

should it
is
must

questionably un-

discarded,
that
of

but he

not,

therefore,
content

be
a

supposed
mere

necessarily
When
to

with

record he

fact.

the receive
thing some-

sitter pays
one,

for
to

likeness
to

is entitled upon it may

and
else
"

attempt
however

foist

him be
"

beautiful
232

is to

PORTRAITURE

questionhis judgment
but

and

to

ignore his rights,

the

this is not
be
content

to

say
to

that

photographer
what he the

should asks.

give

him and

merely

It is the

function

privilegeof

artist to labor in the effort to elevate

taste

the popular

and

to

educate

the of

ation public in apprecilife,and

more
no

of the artist
was ever

finer

things

true

yet hesitated
in fact, line
a

to

give

than

he
thusiast en-

paid for;
in that

sincere

and

genuine
the

any

will

invariably give

the

best

is in him,

regardless of
the
not

financial

reward.
With
the
amateur
case

is somewhat for his

ferent, dif-

for, since he is
is under
no

paid
work

work, he
sitter's
any

obligation to
is free to
even

consider

the

preferences,and
in view. be called

with

end

However,
a

here

the result cannot

portraitunless
The
author
to

the

requirement
some

of

resemblance
must

is fulfiled, and

other here the

title

be chosen. the

would

digress
custom,
iting exhib-

from
so

topic in
among

order

deplore
"

prevalent

photographers, of
the title

picturesunder
artist makes
so

Study."

Every
in

studies, and
often
very

the effects

secured

doing

are

charming, but
233

the genu-

FINE

ART

OF

PHOTOGRAPHY exhibits thus and

ine artist seldom

to

or

never

them, preferring
obtained
to

apply

the of The
"

knowledge
a

the construction

complete

fullyorganized
who
uses

picture.
"

photographer
for
an

the

name

Study
open

exhibition

print lays
of
to

himself

to the
some

suspicion of having merely

effect interesting

photographed
or

light
show

line and
as

of not
or

being
being

frank

enough

it

such,
to

of
a

too

lacking in imagination
too

select

suitable into
a

title and finished should

indolent

to

work

the effect
true

picture.
present
a

The

portrait,then,

complete and satisfactory representationof the and gradations of the face; it should contours
be

fullydescriptive as possibleof the sitter's character; and it should be a picture of such

as as

nature

to be

artistically pleasingto
with

one

who first

is

unacquainted
which
nor

the

original.
the the
use

The
a

desideratum lens
"

is obtained renders

by

of

suitable
neither is of
dering ren-

one

outlines and
correct

wire-sharp
proper

excessively vague length

"

focal

and

by the

of values; the
to

second

by

proper

tion atten-

posing, expression, lighting;and the third by care

234

accessories
in the

and

composi-

PORTRAITURE tion of line and

suitable

mass,

by

chiaroscuro, and
of the

by

proper

adjustment of choice and manipulation

This division the

printing medium.
not and

is, of

course,

absolutelyprecise,for key
are

selection

of scale

influences

all three
tors; fac-

elements, and

there

other

modifying

but, broadly speaking, it will be

very

found

satisfactory.
one

Since should

of the
to

chief portrait-worker's the

sitter's character

aims

be

express

it is

possibleto
at

produce
an

(indeed, thoroughly
without
to
a our as sider con-

recognizable portrait of showing

the well-known the face basis

individual be well It is

all) it may

of this element. that

we

fairly by

fact
as

recognize
and
manner

quaintance ac-

much

by

pose

features, for these

at
name a a

last become whereas

able indistinguishwe

slightdistance,
than of

can

often

person
more

approaching long
a

before

his face

has of

become

blur.

Profession, mode
all leave and their

life, and
on

habits

thought
features
more

stamp
and

the individual's

carriage,
one

the writer of which

has

produced
who is
235

than
know

trait por-

people
"

do not
a

the sitter
"

say

at

once:

That

man

doctor,"

or,

He

FINE is

ART

OF

PHOTOGRAPHY

an

artist/'and

this without

introducing
due of the attention

any

of the characteristic

surroundings by

of the sitter's
to

profession,but
facial and hands. of the Ask

merely

expression and
a

pose

body,

head

painter who
how he will

is noted attains be:

"

for his his I

sults, re-

rendering
and what I
see

character

reply

probably
be

paint
He

"; but
or,

it may

doubted

if this is

quite exact,
of

rather, quite complete.

he sees, but

undoubtedly paintswhat
the
sitter's
see

his appreciation
his

character
other

influences

vision, making him

things than
him In
to
an

those

actually chapter
as

existent
are

and

causing

ignore
earlier

things which
a

actuallypresent.
caricaturist
essence

famous'
that

has

been

quoted
lies in
"

saying
if

the

of of
some

caricature
one

the that
or

slightexaggeration
more

feature

than
one

one

feature
be

be

exaggerated,

if the

chosen
a

over-emphasized, the
but
a

result will be not and this idea

caricature

grotesque;
of

probably
The
least

lies at the root

good
gerates exag-

portraiture.
or

artist

unconsciously
the

at

emphasizes
or

tic characteristhose
ideal

features, suppressing
which conflict with
or

minimizing
from the

detract
236

PORTRAITURE
toward

which this that combines

he

is

working.
best

It

will be the

seen
one

from who

the

is portraitist
measure

in fullest

the power of the effects

of of

reading character, knowledge lightand

of his
no

shadow, and
and it

mastery

of the technic that

one

medium,
ever

follows necessarily
for

one

passes

the need

study ;
about

no

ever

knows the

all there

is to know

any

one

of

three all.
are

requirements,to
to likely

say

nothing

of

them Men

most

have

strongly marked
to

characters,since their mode

the
mental

of life tends

velop de-

processes
our

and

to

encourage

decision, whereas
ideals of feminine

present

unfortunate
mere

beauty
and

incline toward

of regularity

outline

delicacyof complexion. good many mental activity

a

One
women

finds, nevertheless,
features
of express

whose
firmness

and

will, the higher beauties

the mental cultivation
;

of the is

mind

rather

than in the

indolence
of

which is popularly
on,

imperative
termed
the

what
goes
are

beauty they

and

as

time

with

increasingshare
this class will

that
are

women

taking and
fairs, afin

the finer part

playing
237

the world's increase

beyond

doubt

FINE

ART

OF
and

PROTOGRAPHY

numbers.

Boys
so,

girls up

to

the

age

of

eighteen or
very

and

small

children, are

evidently

unlikely to
but
"

possess

strongly marked (even babies)have

"

acteristi charsonality per-

they

all

that
the

is, latent
effort

possibilitiesand
to

it
to

must

be

artist's

discover if any the

and

portray
artists
men are

this

element.

Few
at

graphic
of
is

equally good
women.

portrayal
mind
tially essen-

and

The

masculine

logical and
more

direct, the
and

feminine
a

being
certain
of
;

impulsive
of
"

intuitive, and
"

amount

sympathy
for
some

kindred

quality
resemble

mind the

is necessary in

adequate portraitwork
measure

artist must few

to

the

and sitter,

persons

are

flexible sufficiently

mentally
intellect. be mind any

be

able to
be
sure,

appreciate both
there does this
not

types of
appear
to

To sound

reason

why
is

difference

of

should

be

permanent
there
no

throughout
and the the

future

generations,for
difference variation education
We
men

tal physiologicalmen-

between
seems

the sexes,
to

ent presof

be

rather
of
to
see

result

and

trainingthan

anything
the minds
common

else.

may, and

therefore, expect
women 238

of

approaching

type

FINE ural and

and
case,

ART

OF

PHOTOGRAPHY

ume artificial, observing carefullythe vol-

direction

of the illumination also

as

in each and
to
ond sec-

and

noting
"

the much

typical poses
consideration
are

mannerisms the hands

as

giving
to

the

face, for the hands

in their power mode
to to

only
the student

to

the features traits and

pass
on

of

pressing ex-

mental may

of life. Thence of

the consideration

strangers, endeavoring
in the

interprettheir
he has

acter char-

light of
should of what

what

already

served. ob-

He mental
notes

cultivate the habit of he sees, in

a as

making
that of
last cause beis

well

as

making

his observations avoid

glance, this
and mental
to

partly to
the valuable.

giving
make
be will

offense

partly
notes

to ability

rapid
astonished

He

find

how

rapidly this
that
it will

power

develops
be face

with

practice,so
him
to

eventually
memorize this
of
a

possible for
in
a

observe

and

few

seconds.
may

Having adopt
would make full would
a

acquired
the custom
treat

the ability,

student
how

deciding mentally
:

he

each

individual
a

whether half head

of

he would
a

large head,
what
;

bust,

length, or
and

length;

pose

of the

hands

be used

what

character
240

what lighting,

PORTRAITURE
scale and

key,
of

what

sort

of

background
a

"

in

short, he should

endeavor

to construct

finished such
him
to

portrait
with

the
not

individual

selected, for
to

training will
different

only help

familiarize will also tend

a

treatments

but

develop his imaginative powers,

is not

facultywhich
as
a

only fallinginto
of the modern

desuetude but

result of

the

evolution

race,

is still further

suppressed by
The average

educational that
a

methods.
vivid

person

supposes

nation imagidoes

is
all that he that
to

drawback
can

in modern it in
act

life,and

to restrain

children, thinking

encourage
careers.

it will

unfavorably
of and

on

their

later

As

matter

fact, the

imagination is a
of

fundamental
as

ulty essential facas

the

mind,

much

so

memory

or

logic,and
is

perfect mental
all three
and

balance

demands

the It

possession of only
The
a

in due

proportions.

disordered
is harmful.

uncontrolled

tion imagina-

which

writer the

believes best

that

medium

photography is preeminently for portrait work,

metier
of the

and

that

the is distinctly portraiture

the camera,

being

led to this conclusion

: 241

by

following considerations
16

FINE
As has

ART
been

OF

PHOTOGRAPHY
the
finest

pointed out, primarily

contours
camera a

portrait
dering ren-

work

demands
of

fairlyaccurate gradations
to
secure

the the

and is able

of

the

face, and
than above
with front The the

ter this bet-

any

other medium,

being distinguished by
the
is accuracy

all other

graphic

arts

which of it. second

of

it records

whatever

placed

in

requirement

for

portraiture is
features and

power

emphasizing
or

certain
reserve

suppressing
this the
camera

holding
can

in

others, and

do, through choice of lighting,

and
as

various
as

technical
other of

manipulations, quite
when hand tions modificato
a

well
a

any

graphic art, though introducing

unless will do well

it is

question
the

photographer
of restraint It is
no

exercise

great deal

he is
matter

trained
to

draughtsman.
a

simple
means

duce proon

desired

expression by
for this
reason

of work

the

plate,and

the writer
to

strongly
achieve and the the

advises

that the

photographer study
of

his effects

by arrangement
of the

light,pose
and

adjustment
play
of

values, reserving,however,

of modifying privilege

background
areas

lightin

the broader
242

of the

picture.

PORTRAIT BY From PAUL

a

OF

DR.

EDWARD

A.

REILEY

L.

ANDERSON Print

Gum-platinum

PORTRAITURE
It for

may free

seem

strange that
in should

one

so

enthusiastic
as

modification

photography
in

is the
on

present writer

nevertheless

insist

the

importance
the

of

literalness

portraiture,but

explanation is,in reality, very

and genre and

simple.
the
the

In

landscape

marine stimulate he

work

tograph pho-

is of the violate

to striving
so

tion imaginato

observer,
truth

permits
is the
preserve

himself
but

actual

of appearance,

in portraiture ject, ob-

truth and

of appearance

primary
this
areas

it is difficult to

when of

doing
the
seems

hand

work

on

relativelysmall

negative or
best

to correct

it print. For this reason to employ the retouching pencilonly the faulty rendering of color values the of the

characteristic

ordinary plate
"

and

if

panchromatic plate
amount

is used

even

this

slight

of hand
one no

work
element
mean

will be unnecessary. in which

a

Color, the
is

weak,

is

by

photography necessity in portraiture,

as

since character monochrome

as

can

be rendered

well in
chrome mono-

in full may

color; in fact, the

at

rendering
the other, artists who
as

times

be

superiorto

is evidenced
are

by

the fact that those

noted

for
243

their

psychic insight

FINE
often

ART
found

OF

PHOTOGRAPHY
their

are

to

reduce

palettesalmost only
This of is
men

to
areas

monochrome,
and
true

employing
sake

color

in small is especially

for the of the

of relief.

greatest masters
and

brandt all,Rem-

and noticeable

Velasquez;

particularly
and is form
women

in their

of portraits

of strong character, which, of course,

just as being
It is est inter-

might
admitted

be

expected,
and that that in the

the

appeal
of

of

intellectual

of color
women

sensuous.

case

whose their

lies in their
of feature and
are

coloring and
than
case

regularity
acter, characters charof color

rather
in the
not

in their of

strength of

children, whose
the absence also the
;

fullyformed,
as

may

be

unfortunate,
interest

may

happen picture
of

when
rather

the than

primary
in the

is in

portraitelement
does
not

but, in the main,

lack color in

the

writer

feel

the

portrait photography. by Velasquez

of Austria and

An

plification interesting exem-

of this condition
"

is found
of Maria

in two

traits por-

those

Theresa

Admiral

Pulido

former, representing a young higher in key than the other, and color, whereas
the

ja. The is much princess,

Pare

is rich
a

in

latter, showing
244

man

of

FINE

ART

OF

PHOTOGRAPHY
and the

Finally, composition, atmosphere,

interest
texture

derived
are as

from within

beautiful
the grasp

superficial
of the
seems

well of

tograph photo

as

the

painter, so
the
camera

there should

be

no

reason

why

not

vie

with

and
of

perhaps
art; it
mediums
we come

even

surpass

the brush
the

in this
users

phase

depends entirelyon
which shall prove
of
to the realms

of the two

the

ter. bet-

When
genre and

landscape, originative
below the that

illustration

the

case

is different, for

here

the finest

expression
the
camera

demands
falls

imagination
freer and

and

less literal mediums;

can

it is true

imaginative conceptions
photography,
labor
in but

be
cost

expressed by
of excessive that is

only

at the

and

effort.

Briefly put,
camera

this

means

portraiture the
in the world

does

easily what
other

difficult of
but

accomplishment by
of the

mediums,
capped it is handiit

imagination
which makes human

by
in

the very

factor of

strong
and

the

portrayal

character

personality.
Turning
to
must
now

from

abstract

considerations

the

more

concrete

phases
246

of the

work,

we

first discuss

the

that is,the setting,

loca-

PORTRAITURE
tion

where

the

work

is to be

done, and

we

find

three
"

fundamental
the

selves possibilities offeringthemthe outdoors and the

home,

studio,
it is,in
of
a

the the

studio

being

mentioned

last because least

an

writer's
Unless

opinion, the
the

desirable
actor
or

the

three.

sitter is
must

fessional pro-

model, he
to be

be

an

unusual

person when

free entirely the

camera,

from and

self-consciousness
it

facing
effort

requiresa

constant to
come over-

on

the part of the unfavorable

a

photographer

this

tendency, which
pose
a

may
pression. ex-

absolutely inhibit
in

characteristic is at

and

Self-consciousness unfamiliar

maximum

surroundings, being markedly

is done in the sitter's home, is plified greatly simThis

less when
so

the work

that the

photographer'stask
outside
case

by going emphatically
make be
a

the that

studio. the
writer
can

is

so

the

will not

portraitin

his studio
and

if it

possibly
"

avoided, children
inclined
to
"

adolescents

who

are

much of

self-consciousness

in the

best
to

circumstances in
a

being especiallydifficult
sitter's home that those

handle of

strange place. Further

in

advantages
are

working

the

the
cus-

furniture, accessories and

247

settings are

FINE

ART

OF

PHOTOGRAPHY
with the when
case

tomarily being
is

associated
no

individual, this
a

often

small
;

help
in the

tion characterizawomen

is desired

that

of

there

usually a larger selection (and

most
an women are

of

clothingto
to

work
the

with

glad
of

afford

photographer
several
a

opportunity
;

working
to

with
suade per-

gowns)
mother

and

that

it is easier

to let her

child be
a

photographed
in his of the of
the

in

ordinary play clothes,

best bib
most

youngster

(or her)
stiffest,

and

tucker

being

one

uncomfortable
It is

specimens
unfortunately
are

humanity imaginable.
case

that

"

dress-up

"

clothes

usually
wearer's

stiff
age,

and
but

uncomfortable,
this

whatever

the

regrettable circumstance
in the
case

is still further

complicated
fact

of children
to
an

by
a

the

that

most

mothers
same

seem

regard
animated

child

in much and
and

the

light as
pretty
that

toy,
frills

decorate fanciful
to

it with
ornaments

much
can

all the

convenientlybe being
child
un-

attached

its attire,the the

final result

photographable to
it is sometimes

last

degree. However,
catch
case
r,

possibleto
in which

when

dirty and
father is

happy,

the like

youngster's
the

fairly certain
248

to

picture,

PORTRAITURE
f

though

the

mother

will

prefer the
of

more

orate elab-

one.

Still another home

advantage
fact in the

going

to

the

ter's sit-

lies in the

that
same

if the

rapher photogis and

a

works

always

place there
a

great danger of his fallinginto

rut

ducing proson per-

stereotyped results, for

of
in
a

it takes
see
new

to exceptionaloriginality

things
there

place with
decided

which

he is

acquainted,and
to

is

temptation
of
to suitability
or

repeat striking or

effects interesting of their

lightand
the
case

less pattern regardat

hand.

This

danger
not

is avoided
are

minimized
never

by going out,
alike,so that
but

for conditions

then

twice

only

is monotony becomes
he is of

of result avoided
a more

the

photographer
since

versatile
with

nician, tech-

working
illumination

constantly
of with the

varying
For

intensities

light instead
of writer

the

uniform relatively these

reasons

studio.
use a

the
as a

prefers to
and

studio

merely going
out

reception-room
whenever sitting the
results of

shop, work-

for
so,

it is at all
years

possible to
of

do

several
him

portrait work
was

having
249

confirmed

in this

opinion, which

originallyreached

through

FINE

ART

OF

PHOTOGRAPHY

process would

of deductive

reasoning. Incidentally,
a

he

add

that

when

large camera
a

is used
to

for home any

portraitureit
;
a

is

mistake
or so

carry

it

great distance

dollar

for

taxicab energy

will be well

spent, the saving of

in the

nervous

being

reflected
when

finished with
to

prints.

ture, Portrai-

attacked necessary
no

the

intensity and
the finest

concentration

produce
on

results,involves system, and

of energy A that
even a man

small
cannot

drain

the
his

nervous reserves

command

when

tired. worker
is not far
as

well-known the outdoors

has

been

heard

to

say

suitable
assert

for

portraiture, sible imposthose

going
to

so

to

that it is

secure

satisfactoryportraits in
but the writer this dissents
in
most

circumstances,
from say it is doors
to

orously vig-

and, proposition,
are

fact, will

that
even

if the
easier

conditions
to

at

all favorable

obtain

out-ofgood portraits necessary

to to

than work
of

in.
of

It is D. very

merely
Hill

point
traiture por-

the

O.

prove

that is

the

highest
the

order writer

possible
does
not

out-of-doors, and
presume
to

though
any

institute
the

comparison
Scotchman,

between

himself

and

great
250

he

would

PORTRAITURE
nevertheless Mrs. remark B. that both

the

Portrait

of
and

George

Hollister
were

(page 292)
made of

Priscilla

(page 280)
for this
to be found

out-of-doors.

The

reason

difference

opinion
the worker
inclined

is

probably
who favor
secure

in the fact that

condemned
a

outdoor it is

light

is

to

low

key, and

undeniably
does

difficult to
; but,
or

good low-toned
seen

effects

out-of-doors
not

as

will be

later,the writer

favor and

approve is
no

this trouble

style in portraitwork,
at

there
or

all in in the

obtaining high-keyed
open air. and It is

full-scale
a

effects of

simply
of having

question
in
a

using judgment
the of

tion discrimina-

arranging fairlygood
fact
of

composition, and
technic. out-of-doors

grasp

Further,
to

the

mere

going
the

pose,

since it is
person, of the

beyond
in

experience of
away
"

the average

aids

doing

with

that

bug-bear
; and

portraitworker
exposures of children.

self -consciousness

the briefer in the

case

possibleare
that
the

great help

It sometimes is
a

happens

sitter's home

small fact

or

the

of

poorly lightedcityapartment, that the portrait's being taken is to be

from
some

kept

secret

member
251

of the

family, or

FINE
that

ART
other the home

OF

PHOTOGRAPHY

some

cause

prevents the work out-of-doors, and

necessary
to

being
in such the ting sit-

done
an

at

or

event at

it becomes

make

the
be

studio.

Such

contingencies must,
in order
to meet

of course,

provided for, and

as

them,

as

well

to

provide a
studio
an

suitable should

place for
living
a

the receivingvisitors,
as

be finished

nearly
with wall
on

as

possible like simple

but
or

attractive

room,

good furniture,
tan,
a

flat-

toned

of gray

few

good

framed
an

pictures
Oriental

the
or

walls, hard-wood
two,

floors,

rug

broad and, if possible, a

window-seat.
of
a

The

camera

should the
same

be

kept

out

sightuntil required,for
surgeon
to
or a

reason

that

dentist

conceals

his instruments
nervous
"

"

avoid

making
should One

the be

patient

and
its

the

skylight
has

conspicuous by anywhere

absence.

of the ablest of

portraitphotographers
"

said:

"

I work

living
The
as

room,

bedroom,

butler's pantry,
with its

anywhere.

ordinary studio,
a

skylight,I regard

famous
for
to

but

plants, place for propagating tropical other be not no purpose." It may

state

amiss mother

that 16)

the
was

writer's made

portrait of
in the

his

(page

kitchen,

252

FINE
in the
to
or

ART

OF

PHOTOGRAPHY
for of

or

evening, or key
furnish

ing, supplementary lightows shad-

raise the
to

heavy excessively
of

effects

For cross-lighting.
to
use a

portraiture the
watt
a

writer

prefers
or

1000-

Mazda,

either alone

in

conjunctionwith
type, these lights
and

500-watt

lamp

of the
than

same

being
more

less harsh

the
a

arc

consequently
form

likelyto
but

afford

satisfactory quality of
a

modeling.

Suitable
not

reflectors,of

proachin apthe

quite coinciding with

be

parabolic, should
may
to
a

provided,
mounted
to

and

the

whole

be held

in

clamp which, being

rod
on a

attached movable
to

vertical iron

base, permits the lamp

floor
or

be

lowered

the

elevated
to be

feet, and
It is
an

heightup to about eight adjusted at any required angle.

to any to

easy

matter

fit

diffusing screens
be
so

of

tracingpaper,
as

but

these

should
for the

arranged
will often

to be

removed, easily
without them.

lamps

be used

These
a

lamps give very

rect cor-

good

color values with

a are

without

and ray-filter,

values

lightscreen,
used,
of
a

and, if panchromatic
very brief cient suffi-

plates
exposures,
at
an a

permit
second The

fraction

being
expense

aperture of F/5.5.
254

of

PORTRAITURE such
about

operating
cents
an

lamps

amounts watt
on a

to

ten

hour

for the 1000one,

lamp

and

half
cents

that for the 500-watt

per

basis of ten

kilowatt

hour

for electric current, this

being
of

greatly in
the

excess

of that
arc,

involved which and

to

in the

use

mercury-vapor for studio

is often
is
use.

mended recom-

work,
and easy

undeniably
However,

cheap,
the

convenient

latter form of all but

of illuminant

is

void depractically violet rays

so

ultra-violet studio work

of

and is

(at
it color
pensive ex-

least
is

so

far

asf

concerned)
correct

evidently incapable
the
writer
more

giving

values, and

feels that than

pay

the
for

more

lamp
better

will

itself in due
to

results, together with

the
need

the

saving
A

minimizing
work Hutchinson form

for found
in

retouching.
very

light spotin portrait

will often
as

be
as

useful

well has

and illustration,
to

Eugene
a

suggested
he finds of
a

the writer

ple sim-

which

to

work

satisfactorily.
Mazda

It consists mounted
on

merely
a

200-watt
a

rigidly
this

rod, with

sleeve
on

slidingon
the

rod, and
that the

reflector

mounted be

sleeve, so
or

light may

concentrated

spread
or

simply by slidingthe
255

reflector

backward

FINE

ART

OF

PHOTOGRAPHY

forward, the whole

attached
to
a

apparatus
rod

being, of
means

course,
a

vertical
of

by

of

swivel
and

clamp,
of When

to

permit
the work the

elevating or

lowering

tilting.
is done

out-of-doors
and

or

in the

sitter's home, will be

cannot

background
offer

accessories
we

those condemn

which
too

themselves, and
custom

severelythe
when since

of taking
out to

painted backgrounds
home

going
of

do

portraitwork,
one

this is

to deliberately

discard
outside

of the chief studio.

accustom

advantages

working
the

the

The

photographer should,
to

therefore,
various of

himself

looking
as

at

possible settings simply

masses
"

ments arrange-

patterns in lightand
character.

darkwill
be

ignoring
found
"

their

actual

It

that
a

infinite

possibilities present
into
open another

selves them-

wall, a painting,a piece of furniture,

door,

doorway
to

room,

way doora

leading
tree-trunk,
a a

the

air, a grape

arbor,
open

distant
distant

landscape, the
staircase

sky,
a

window,

building,a sloping lawn,

a

piece of tapestry the many things

served the writer

and

being
various

among times Acces-

which
for

have this

at

purpose.

256

THE BY From

BRIDE

GERTRUDE
a

KASEBIER. Print

Gum

PORTRAITURE
series should
be

few

in number

and

uous, inconspicin
an

the ideal here earlier

chapter
"

being that just so much

enunciated detail
as no

aids the
more.

expressionof
A
a

the

principalidea, and
vase

small

table, a chair, a
a

of

flowers, a book,

microscope, a fan,
and

of prints,palette portfolio of these

serve.

brush,

pair of gloves, any

of

or

of

thousands

other

things
must

will

Whatever
nature
rest
no as

is used, however,
to

be of such with
case

combine

harmoniously
it is often the

the that

of the

picture,and
at

accessories

all will be

introduced, pose,
relied
on

expression and
desired is to be done
of

lightingbeing
the

for the

explanation
kind

of character.

If the work

in the studio
as

settingsshould

be

the

same

those

found

in the home, studio

the

painted backgrounds
an
"

of the average

being
known

abomination, especially the variety

scenic." but
are

as

These

never
an

have

real

appearance
"

always

obvious
"

feit counter-

they
a

remain

inevitably
than

painted ship
can

upon

painted
indoor

ocean."

Nothing
a

be

more

ludicrouslyincongruous
obvious

figureunder
that

an

with lighting includes

a

ground landscape back-

which
17

house

judged by

257

FINE

ART

OF

PHOTOGRAPHY is six
feet from the
a

atmospheric perspective
sitter,but quarter of
a

judged by
mile
a

linear
"

perspective is
indoor
no

away

nothing, that is,unless

an

perhaps
of

it be

figure, still in
window which
upon of these in
a

light,
tige ves-

posed against a
writer
of

throws the

light whatever
has
seen

figure.

The

both that not

examples
on

of lack the East of

men

unity, and
of New

showcase

Side who

York,
to

but

among

the work

profess
the

be

the

ultra-fashionable of
a

and

highest priced photographers

Even clouded

large city.
of

backgrounds
the desired

smack

the
a

studio, and

when

effect

calls for

simple
toned the
can

modulated is advised
to

background
use
a a

the
or

rapher photogmediumon

plain dark
minutes
or

one

and

spend

few

working

negative with
thus introduce instead

pencil
the of

air-brush, for he
it

lightpreciselywhere
to

is needed,
on

being obliged
mechanical

depend
of
a

the

stereotyped thing

and

ideas

scene-painter.
If

such
as

is within

the

range
towns

of
or

bility, possieven

often

happens

in small

in suburban the most

places of

considerable

size,one
to
a

of

valuable

of all
258

adjuncts

profes-

FINE

ART

OF

PHOTOGRAPHY
well
to

The

type of

camera,

as

as

the size,must for himself.

to
uses

be left to each

individual
as

determine

Inasmuch
any
a

the writer

prefers bromoil
he

other
4X5

printing medium,
that bromoil for the
is

generally
it is

reflectingcamera, by

but
no

cheerfully
a

admitted
medium

means

suitable

average

run

of

professional
to most
teur ama-

work, being distinctly adapted either

work
or

to

the very

highest and

pensive ex-

class
in the

of

professionalportraiture,and
cases a

great majority of
or an

contact

ing printinum plat"

paper

enlarging paper
For
newer

of the bromide

type will be employed.

"

contact

work

or

its

equivalent,palladium
another of

is

probably superior to anything else, but

workers

many

prefer
of not

one

or

the

various

silver papers,

which, though possessing the advantage

requiring sunlight for printing,

have the

neither the scale, the surface

permanence of

qualitynor

platinum.

It is,however,

possibleto
papers from

make small

direct

enlargements on silver negatives,and this is in their

is to be

favor, for, assuming that the

heavy shadows
on

and

print has no very framed, ments enlargemay be prac-

suitable

bromide
260

papers

PORTRAITURE

ticallyindistinguishable, so
is concerned,
The
camera

far

as

appearance

from

contact
on

printson
the

platinum.
size of of

writer

has

settled

type and
years

indicated with other

after

several

ence experibelieves

types and

sizes, and

it to
are

be
to

the most be made

a

unless satisfactory in

the
or

prints
gum.

platinum,
the
has

carbon
oil

When the
use
no

it is
of
a

question

of either

printing or
sents pre-

silver paper, and of

large camera
the drawbacks

advantages,
cost

of until
been

bulk, weight and

some

plates;though,
has

knowledge
work with

of

composition
be better

gained, it will probably

to
a

for the student

a

larger instrument,
easier
to

large

ground glass being

on.

compose

the

ture pic-

As

to

retouching, the
with
about

author's

tion recommendafamous In

is identical
to those

Punch's
"
"

advice the old

to marry

Don't."

days

of the wet

collodion
were

plate,when
and
a

sitive color-sen-

emulsions

unknown,

the color-blind skin blemishes,

red
or

plate exaggerated wrinkles

since

these, being mainly of

much

yellow they

tinge, photographed

darker

than

appeared

to the

eye.

It falsified
261

gradations as

FINE

ART

OF

PHOTOGRAPHY
side of

well, for the shadow

the
of
same

face is seldom

of

color

as

the

lighterportions,objects,
color them.

course,

taking

their

largely from
Therefore,
to

the the
to

light which

illuminates

retouching pencil was

secure
a

resorted
a

in

order

pleasing effect, and

of

conventionalized
up,

tradition the
"

retouching

has

grown
are

until at and done

on

present
"

day negatives
by rule, the work
who has is no
never

retouched
often

modeled
someone

being

by

even

laid eyes

the sitter.
and

There

excuse

for such

ful untruth-

inartistic methods,

for the modern values

chromatic panas

plate they
used
will appear in
to

will render
eye,

exactly

the

and
a

when (especially
soft-focus
no

conjunction
cost

with

lens)

produce negativesthat
greater
of

need

retouching,
offset
to
tion men-

the the

the

plates being
wages, in

by

saving in
the
vast

the retoucher's

not

improvement
will

results, for the

lens the

and

plate

give
of

better
some
seen

modeling
the sitter.*

than

pencilin

the hands has

never

eighteen-dollarThe

a-week
*

girlwho
a more

For

complete

discussion its

of

the the

use

in

portraiture of
"

the

color-sensitive

plate
Its

and

adjunct,

see ray-filter,

torial Pic-

Photography,

Principlesand
262

Practice," Chapter III.

PORTRAITURE
writer
word
"

retouches

"

in the
not
more

accepted
than these
or

sense

of the
per
cent,

probably
inherent

one

of his
some

portraitnegatives,and
facial blemish
a

only

when
vents pre-

false value

the
direct

securing of
So

characteristic
as

result

by
are

methods.

far

backgrounds
a

concerned, and

the

pulling together of
of relative but it is the

position com-

by
work
is

modification

values, hand

more

frequent, raising or
areas,

generally
value of of the

confined

to

lowering by
the

relatively large inking

A
room

handling
and of

brush. of is dark-room the scope would

discussion

printinga

methods

beyond
two

book
sion occa-

of

this character, but

to

the writer

take
are

mention

convictions
of

which

the

result of many
are

years with The

experience,though they
beliefs
of
none

at

variance

the

numerous

photographers. developers
any in

first is that
use

of

the than

common

is any
are

better

other

so

far

as

results
matter

concerned, the
and

choice

being purely a

of convenience

cost ; the second

a

is that tank of

development gives
any

larger percentage
method. The

good negativesthan
observes with
263

other

writer

pleas-

FINE

ART

OF

PHOTOGRAPHY

ure

that

the is

number

of

photographers who
nature

use

the tank
to

the objection constantly increasing,

of its mechanical

it

on

account

being
part
He the

met

by

the argument

that

the mechanical

of

mechanical. photography is,precisely, the

use

feels that, when

of

the

tank

and

panchromatic plate
will have

becomes
a

general,photography
the words far

made and
" "

tion great stride in the direcare

of truthful
from synonymous

though
most to
a

artistic results.

One

of the first and

important injunctions portraitphotographer

It is said the that in

that

can

be
not

given

is: Do
some

hurry.
from

of

the
to

large city studios

make

operator is

expected
a

sittings thirtyto thirty-five about

one

day, which
minutes,
haste

figuresout
and
must

every

fifteen -done
most out

it is evident

that

work of the

in such

necessarilybe
to obtain

conventional
of the

styleimaginable ; it is utterly
anyone
even

questionfor moderately good grasp

at
a so

of another's
to

character
to

glance" though
"

it is well

endeavor

do

and

the operator who

is not
an

works
a

in the fashion

indicated
his work is

artist but
to that
264

mechanic;
man

comparable

of the

who

PORTRAITURE

runs more

turret

lathe, and

requires
latter

very

little The

than intelligence
an

the

task.

painterhas
hours

excellent

ing opportunity for studythey spend

times
the
eral sev-

his sitter's character, since

together at
of
a

different

during

the construction
may

and portrait, his

rapher photogThe view interan

well

profit by

example.
make
that

writer

endeavors, whenever
the sitter prospective for the actual

to possible,

and

pointmen ap-

so sitting,

he has whom

at least two

chances

to observe

the person

he
in
to

photograph, and this custom operates for it not only permits the worker two ways, become but also acquainted with the sitter,
is to the the latter the

affords
to know

opportunity
the

of

getting place. especial

photographer,so
when small
case

that he will be less

self-conscious This
moment

sittingtakes
and is of

is

no

advantage,

in the

of children.

it Failing this,
quainted ac-

will

practicallyalways (unless personally

with
of time

the

sitter) prove
and
converse

good
for has

ment investa

to sit down

while

before

work. starting
an

The
an

writer hour
very

at times

spent half
in

hour the

or

profitably
serving
the

this manner,

conversation
265

FINE
double
an

ART
of

OF

PHOTOGRAPHY

purpose

affording observing

the

photographer
sitter and
at
ease.
a

opportunity
same

of

the

at

the

time that

putting
the

the latter

It is

desirable

photographer
so

have take
can

broad ligent intel-

general education,
interest lead the

that he

can

an

in any

subject and
toward
rate
at

ally gradusitter's
to

conversation
'any

the be able

hobby,

but

he must
in
some

pear ap-

interested
to

topicwhich
lead and
to

is of interest

the sitter, and

thus

the latter to

forget
of the

his self-consciousness

display animation,
enthusiasm
poses

when moment,

he

is certain, in
to

the

reveal

characteristic

and

expressions.
One time
was

of the most

and interesting
ever

at the

same

difficult sitters the writer

an

encountered
of tremendous
same

Antarctic

explorer, a
but

man

force such

of character

at the

time

of
to

extreme

modesty

that

he
a

was

unable

conceive
an

of anyone

wanting
caused

portraitof him,
to
seem

which inability devoid

him

listless

and and

of animation, but

the ice
a

was

finally
This

effectivelybroken
encountered
form of in the

by

question.

explorer had

hardship and

tion priva-

cold, hunger, danger and

266

FINE

ART
when

OF

PHOTOGRAPHY

know

the

picture is being taken,

and

centration con-

of interest

attention children is often

being
or

thus

obtained. individuals When advice

it

However,
the former
comes

with

neurotic better.

plan

the

to

posing, here again

best method is to
a

Punch's

is sound.

The

place

chair in the that when

seats
or

desired

location, in such
his

position
the

the sitter takes

in the proper stand
to

place he naturally
to

himself
is to

relation
may

light,

if he

the

place
to

be

indicated

and
must
to

he be invited

step

it.

Further

posing
little this
on

be

done

by
"

the Just

sitter himself
turn

in response
a

suggestions:
"

the head

way,"
arm

or

Just

let the
or

right hand
the

drop

the

of

the
must

chair,"
never

like, for the photographer

for any
sideration con-

permit himself,
to

whatever,
most

touch

the

sitter, the
an even

that of

can

be

allowed

being
A

ment adjustthis is

clothing or
done

draperies,and
make
the

far better certain

not

by
to

the sitter.

touch

is almost
in the

only
which

sitter freeze

positionto
a

he is moved,
of

but

also to induce

defensive

attitude

mind

which

is fatal to
case

the best results,this with

women

the being particularly

The

and

children.
268

only exception

PORTRAITURE this rule is when is

an

to

the

sitter is

man

and

the

photographer
a case no

attractive

woman;

in such fact

harm
man

is done

beyond
as
a

the
as a

that,

the average touch The is

being

vain

peacock, a
to

likelyto produce photographer

with

self-satisfied smirk.
learn

should and

work ing Noth-

quietlybut
so

decision sitter
return
as

certainty.
asked
to

fatigues a
and
of then
nervousness

to be

change
any

pose

to it
on

again, and

dence eviman

the

part of the
around

behind

the
from

camera,
one

any

jumping
to

or

rushing

thing

another, any

hasty
ment excitesitter

or seizingof plate-holders

other

signs of
to

will communicate unless and he is

an

tenseness

the

unusually phlegmatic individual,

will

even

then the

give

an

unfavorable

sion impreswill also

all

of any times holder

not

as photographer's ability,

evidence
to

of

mistakes.
to

We

are

apt

at

forget

draw

the
the

slide

of

the
we

plateneed

before

opening
remarked
to make

shutter, but
we

let the sitter know

once :

it when "In
a a

do.

stein RubinI

recital

drop

enough
conscious

notes

sonata," but only those

trained musicians
were

of his hearers

who

were

of the fact.
269

FINE The

ART

OF

PHOTOGRAPHY
should
is
no

posing, then,
should

be

done
reason

by

the

ter sitthe

himself, but

that

why
pose

photographer
may offer.

accept

any

which is to

With
around

children and

the

best

plan
a

follow

them

wait

until
reason

tory satisfacwriter
to

pose

occurs,

and

for this

the

emphatically prefersa reflecting camera

other

any

type,
and

working making
dozen four
or

out-of-doors
numerous

whenever exposures. ing selectis far

possible
Making

two

small

negatives and

the best easier and

and

live for

enlargement
to

more

likelyto produce spontaneous

than

good
one

results

attempting
a

hold

child in with
or a

location
or

for half
camera,

dozen

exposures

view

studio

and

enlargements
ing loschief child

enlarged negatives can

none

readily be made,
the

of the in

qualityof
thus

original.The
since the

danger
will very the

working

is that from

likelybe moving
the

place to place
all his attention
to

photographer may
on

concentrate

figure
which

and

forget

observe
of

the

background
the
exposure.

exists at the
fault

time
of

making
be

This

must,

course,

guarded against, and

the

it will of

necessarilyforce rapid observation,

worker

into the habit

270

PORTRAIT BY
From

CATHERCNE
an

COLLIER

Oil Print

PORTRAITURE
but
the method the
use

even

so

is, in the writer's

of
a

ion, opinpiece
over a

preferable to
of

less mobile made

apparatus.
finished
both

The

writer

has

hundred

pictures of
methods,

his two

children,
the
its

working by
one

and

feels that

indicated

has

completely
With

demonstrated

superiorworth.
to

adults, however, he prefers

work
are

direct

(unless prints larger than

since
grown

8X10
more

desired)

persons

are

readilycontrolled.
It
is
no more

possible to give complete posing

a

structi in-

for

than

to

tell how

to

read

character, but
The first has which
to
a

few do

suggestions may
with the be

be made.

to

height of
and

the

era, cam-

should the the

always

adjusted with
not at

erence ref-

effect

desired

all with

view
is

to

convenience done. air of

of the

photographer,
the
camera

as

generally
to

Placing

low

tends

give an
stout

height and
since of it the

dignity to the emphasizes

face
at

sitter,but
case

is, unfortunately, dangerous in the

persons, the
pense ex-

of and

chin

lower

portion

the

of the of this

upper

part of the head.

Subjects
a

type should

generally stand,
271

half

or

three-quarterlength being made,

should

rarely

FINE

ART
with the

OF face

PHOTOGRAPHY
toward directly the

be

posed
and

era, cam-

should
flat

still more

rarely be

illuminated
view

with

light,a three-quarterfront
with look
a

in
to

conjunction
make
person

side

lighting tending Conversely, a

the
camera

tke face
may

thinner.

thin and the

more come
a

readily face
more

the

light may

around
to

toward
as

front, it being
many
can

mistake
an

suppose, of

do

so

writers, that
be

appearance

rotundity
on

given only by having

an

the

light fall
are

the face at rendered with

if the angle;.

values

correctly
sions dimen-

the head the

a

will appear

in three

flattest

possible front
to

lighting.
these the
parent, ap-

However,
and

flat

kles wrinlighting, by illuminating

character
as

lines,tends

smooth toward
more

out, but
side the

the

lighttravels
become of
so

around and

shadows the

longer
the

contours

longer
with
The

and

thinner,

the

becoming three-quarteror side

marked least character.

face

type of illumination
persons pose of

will

generally be employed
found
a

strongly
will be
shows

which

generally
view of

useful both
and

is that

which

full front

body

and

head, since this is symmetrical

is apt to
272

formal, and

give a

stolid

or

even

FINE
toward

ART

OF

PHOTOGRAPHY
to be

the lens the effect

is

apt

coquettish
ward, forif far and
too

if (especially
so

the
the

head

be

slightly tipped looking up),

carried

that for

sitter is

the
a

effort of

coquettishnessis
result. should
as

look
As

slynesswill
attention the
hands

much
of

be

given
other
case

to

the

posing
and

to

any

element,
that

it is almost

invariably the
to

they
sons perbeen

chould
can

be

given something
pose
"

do, since few

well. It has pose

empty
can

hands

said

that

women

sometimes

empty

hand
to

men gracefully,

seldom, girlsnever," and

added that
a

this it

might

be

boy's only

tion no-

of the

of disposition satisfactory

his hands
act
as

is to put them is in itself

into his
no means

pockets
"

an

which
an pression ex-

by

to be

ignored
A
cane,

of

adolescent

shyness.
which

book,
a

flower,
or

fan, gloves,a parasol or

cigar ful, helpthat

or anything cigarette,

offers the hands be found

reason

for

their

positionwill photographed

and
a man

it may

be remarked incidentally should

who

is to be

always being
the

be invited to smoke, his self-consciousness

greatly mitigated thereby, not

fact that
a

to
more

mention

great many

men

are

recogniz-

274

PORTRAITURE their friends found when

that

able
not.

to

smoking
the idea

than

when person

It will be
an

average of

has

altogether erroneous
size of hands and
in their actual
too too

the if

true

relative
are

head,

so

that

they
the
traiture porthe

portrayed
seem

relation
It is true

the hands
that for of
a

will

much

large.

short-focus

lenses

frequently used
the

unduly
hands,
nearer

exaggerate

size in

since the
camera

these

ordinarily lie
than
the

plane
the be

face, but apart from

have
to treat

this

the

photographer
a

will

hands

carefullyif
This
may

result satisfactory
be

is to

obtained. the
than rather

ing accomplished by keepin rather

a

light on
on

them

lower

key edges
or

that than them

the

face, by having the

toward the camera,

the

backs

by

having
or

partly covered by
a

by

sleeve

or

shawl
these the

other

object,or
A very several

combination
effort of
to

of pose

methods.

decided

hands, with
almost

changes
in
a

position,will
is to shake

always
when the loose and

end

stiff,ungraceful posture,
be done

only thing to
start

them

all

over

again, being careful

time.
on

not

to go

too

far the second

It

is often

stated

by
275

writers

portraiture

FINE
that and modern

ART

OF

PHOTOGRAPHY
stiff and

clothes

are

ungraceful
the ent presfore thereshould

consequently unpicturesque, but

writer be
does
not

feel that

they

ignored. Ungraceful they surely are,

with
attire

as

compared
various

which

has

been

worn

at

times
if any

in the less of
are

past (though it may

fashions
and
ever

be
isted ex-

doubted

graceful
Elizabethan
full of

than

those

Jacobean the

days)

but

they

character, and

feeling that
arises from is
1

they

are

unpicturesque probably
is has
never

the fact that Romance but

what

happening
The

always
with
us
"

what

happened"
It often be

king

was

yesterday."
will

happens nothing
afterward be latter

that

woman

wish

to

graphed photothere is

in her
to

best

party frock, and

do

but

to

comply

with

her

wishes,
let herself

to persuading her, if possible,

portrayed
the

in her

everyday clothes, the pleasing to

garments.
her

being usually more

more

ily fam-

than
a

formal
to

ever, howIt is,

to

mistake

give

too

much may

importance
be, and
to

the

clothes, whatever
best
to

they

it is always

subordinate
are

them

the

sitter.

Men's the

clothes wearer's

generally less expressive of

than

personality
276

women's,

and

PORTRAITURE
be still further

may be in

subdued, but it must

clothes the
are

never

forgotten that everyday

some

always

degree expressiveof evening

dress and less characteristic. in the and way of

sitter's personality,

being stereotyped in
The
author's
are a

form

two

bug-bears
if there and he has he meets
never

clothes

man's
gown ality person:

evening suit
is

the conventional
more

bridal

anything
to

difficult for

character

shine

through

than

these,

encountered

it,and, indeed, when

forms of dress
a

either of these
up his

he generally

throws the

hands, makes
at

pictureof

clothes, and
with

lets it go

that; though he

remembers who

bride of gratitudeone feelings her own wedding designed and made

not

dress,with the result that it was

but also very

tiful only beau-

and characteristic, Some

ingly exceed-

photographers the difficulties presented to surmount endeavor attire by making a bust or halfby feminine length portrait after draping the sitter with photographable.
chiffon
or some

similar

material,but this is not

is

meeting
the

the

problem squarely;it
as

merely
evasion

an

evasion, as much

vignettingis

an

of

problem
recommend

of

and composition, itself to

277
a

therefore

not can-

sincere worker.

FINE
When

ART
it

OF

PHOTOGRAPHY
to

comes

posing

more

than

one

figure the
of the A

matter

is somewhat

different, more
the task. of
a

element pictorial
writer has

entering into
said
"

well-known

The

union

singlefigure with
all the that
known

its frame

will

present about

difficulties in

composition, and
With three
become

of two

figures a
are

few

extra.

things figures,
more

less

and distracting be stated

settled."*

It may when
two

absolutelyand
to be to

that definitely
one

figuresare
size

posed
other,

of them

must

be subordinated
pose,

the

either

by lighting, by
the frame.

by

or

by placing
to to

within

The

attempt

give
ure failnot

equal importance by
the law

to both

is foredoomed
"

which

says
one

Thou

shalt One

paint two
is to have and

pictures on
of the

canvas."

very

solution satisfactory
one

of

the

problem, however, looking

at
at the
era cam-

sitters

the other
to
a

looking

the of

another first,

being
toward

have
common

the

attention
center

both

directed

of

tion interest,subordinacase

being
*

obtained
Poore,
a

in the latter
"

by
64
"

size

or

Henry

R.

in

Photo is

Miniature

No.
to

(Figure
are

Composition),
interested

work

which

recommended

all who

in the

subject
278

PORTRAITURE
illumination.
to

When
several of the that

three
may

or

more

figuresare
to

be

combined and
one

be

subordinated

one,

most

solutions satisfactory

of the

problem

the

writer

has

ever

seen

in

photography
The Prelude

is found

in Miss
,

Gilpin'spicture,
mentally funda-

(page 166) which, though

has
Mr.

genre,

nevertheless Killer's
attention groups,

considerable

portraitvalue.
also deserves

picture (page 28)

in this connection.

careful

When
classes

making
or

large

such

as

college lem probquently fre-

fraternal
almost

organizations,the
one entirely

becomes
very

of

pattern and

fine

opportunities for arrangement

found in the not
a

offer

themselves, the least satisfactory

unusual method and

solution
of

being

placing the
the method
of

sitters in with

semi-circle
a

ing mak-

exposure

panoramic advantage
less

camera.

This member than

has the

the

sole

that

no

group

is any

conspicuous
no

another.

As

to

its artistic value,

same

cussion dis-

for the is possible,

a

reason

that prevents
of

descriptionof
be

the

snakes from

Iceland;

but
view

it must

admitted

that worker

the

point of
of the

of the commercial

the merit
every

scheme

is considerable, almost
279

artist

FINE

ART
times of

OF

PHOTOGRAPHY
from of the the
a

ing
of

at

suffered the members in

determination group
to

each

have
even

equal importance
Rembrandt's Francis

picture commonly

space,

great picture, The

Company
called

of
The

Banning
Watch
not
"

Cocq having

"

Night
it did
at

been

rejected because
The writer
two
or

fulfil this finds

it
a

requirement.
idea
to

times

good
a

make

three1

negatives of
individuals

group, in the

ferent subordinating dif-

different

pictures,

when
one

some

of the sitters will order

prints from

of the

platesand

others

from

another, unity

being preserved
The

in all. of

choice of scale and in any

key

is

as

important
of art, and

in
the

portraitureas
fundamental
of
a

other branch
to remember

thing

is that
a

our

impression (though
not

Caucasian
face.

includes The
than of
to

light
of

white)

value

the

skin is unquestionably lower

that of white
a

linen, though, the

cast, this value the

face
so

being
dark

yellowish
eye
as

is not

the

to

ordinary plate. Many

secure a

photographers, in
retain relationship,

their effort to

proper
a

gradation in, say,

several
shades

collar,making the face

darker, thus
280

obtaining partial

FINE

ART

OF

PHOTOGRAPHY these

brightnessand vivacitywith children, and

are qualities

suggested by
and full of

high-keyed print,
out-of-doors

transparent
the
sense
case

it being particulight, larly

when

working

that

of

light and lights

To
a

air is obtained

by

means

of

brilliant shadows.

and

clear, fully illuminated

the here
same

less extent

is true

of

of portraits be

women,
more

though
contrast

the

scale may
even

extended,
case

being used,

(in
which

the

of

women

of

strong

character)

proachin ap-

the full-scale, powerful effects

are

valuable

in

portraying
to

men.

Evidently, positions,
the
and

men

less accustomed

commanding
the feminine

that

is, artists,writers, students

more

like,

approach
of
more

nearly

to

ness gentlework is

character, and

they, since
with have less

their

in the realm
to

of the

imagination, are
contrast

erally gen-

be

rendered who

and
fairs. af-

vigor
of

than

those

charge

of

large
force

It often
a

happens, nevertheless, that

have of

men

nature retiring
as

quite as

much
more
on

of

character

those
case

apparently
must

vigorous
its
own

impulses ;

each

be treated

merits, though it is worthy of note that research ipto natural phenomena calls for quite as much
282

PRISCILLA BY From PAUL

a

L.

ANDERSON

Bromide

Enlargement

PORTRAITURE
concentration
of
an

and
army,

determination
so

as

the

mand com-

that
a

scientist is face
as a

likelyto

have

as

strongly marked
be

general. It print,
of the

might
The

supposed

that
,

Mrs.

Kasebier's

Bride

(page 254)
the

is in contravention

principleof adapting
the

the

key
here

of the is
an

picture to
individual fulness cheer-

style of

subject,for
with

commonly
who
masses

associated

brightnessand reproduced
elected
to

is nevertheless

in great

of dark. that the

Consideration artist has than

a

ever, will show, how-

give

us

an

archetype
has shown the
"

rather the main

particular bride;
of the

she

organic lines
a

subject,
a

and

result

is
once

picture rather
more,
no

than
were

trait por-

proving
that there

if

proof
in art.

sary, neces-

are

rules

The

four 280,

portraitsby
292)
matter
are

the

author

(pages 16, 240,

sake of
the reader Miss
as

given

for the

this illustrating
may

of scale and

key, and
one

also

study profitably
268)

the

by
as

Collier

(page tures picMr.

in this connection,

well Mr.

the genre and

by
Hiller The up

Miss

Gilpin,
166, of
140

White

(pages
matter

and

28).
is

atmosphere
283

largely bound
the back-

with

the

question of scale,though

FINE

ART
and

OF

PHOTOGRAPHY
have also considerable observer

ground

accessories The

influence.
is that appear

ideal of the
"

untrained stand
as

the
to

figure should
be

out," that
Whistler that

is,
marked, re-

in
more

relief, but,

it is
"

important

it should

stand

in

"
"

i.e., keep its place solidlywithin

not
a

the
was

frame, though
once

too

solidly. A
a

painter
and

showing

picture to
do you

friend

inquired:
"

Well, old

man,

how

like my

'

Wood

Nymphs'?"
"Fine!
as

"was
were

the

reply.
not
out

"Fine!

They
"

look

if Our

they

actually made moving

of
move
we

of wood!
as

portraitsshould
of

look

if

they

were

incapable
rather but
as

the

frame,
if

but

though they
that and
and
are

could where

they liked,
put them.
to

preferred to stay
definite of

have
seem

It is desirable
very

there

should

be

appreciable depth
behind the

of air both devices

in front

figure, and
to
secure

innumerable
The
own

employed
be

this effect.
frame
or

figure may
in the
or

attached
lines of

to

the

by
sories acces-

its

lines, by the

furniture
a

background, by by a combination
284

background
of these

dation, gra-

methods,

PORTRAITURE

examples

being
The

found
show
so

in

the

accompanying
means
erated. enum-

which illustrations,
custom

all the

often

followed

of

ing plac-

lightportion of
area,

the

figure against a dark

versa,

background
destructive
and

and

vice

is

generally

of

making
of the
a

atmosphere, causing spottiness the figure "jumpy"; but versal rea

process, in

which

light
dark

area

grades

into

lightbackground,
of what is termed the

and

into

dark, is productive of great breadth

The found merge
use

and
"

ity. solid-

the of

lost and

outline," where
into the

edges
follow

the

figure

background, appearing again

as we

by
the

reason

of contrast

them and

around
ness, firmthe the

picture space,
and with the

also

gives

breadth
to

effectually serves
frame,
for

connect

figure
holding
to it.

being probably

strongest of all methods

of the
sense

securing the desired picturewithin the space assigned

of

atmosphere picture,and
to

is often

obtained the ject ob-

through
eye

the

use

of

leading lines conducting

a

back

into

the

foreground
the of

is at times

employed
savors
a

set

figure back,

though
and

this device

rather
proper

cheapness
of

sensationalism,

adjustment

285

FINE
values
secure

ART

OF

PHOTOGRAPHY
when it is desired the
to

being preferable
a

sense

of air between

spectator and
lost in able valu-

the

sitter. A
or

background
in

object nearly
outline, is often
is space

shadow,
in the

indistinct

making

clear that there the

between

sitter and
are

background,
for
so

but

whatever
the

methods

used
care

securing atmosphere,
to balance
one

artist will take another

on

thing with
cept ex-

that the
careful

machinery

is not

apparent

examination, only the finished

result The
of

being ordinarilyseen.
fundamental hold

principlesof composition, good

in

course,

portraiture

as

in

all
to

other

work, and
two

it is of

primary importance
a

remember should
also

facts
a

the first is that

the
a

portrait
is that

be
a

picture,and
have
to

second

it should

be

portraitfirst
facts
no

and

ward. picture afterbeen

These
but

already

stated,

it

can

do

harm

repeat them, lest the

which
do
not

worker
conform these

be led astray
to

by examples
and

the

fundamental

principlesof
to sincerity

art,

requiringunity
and
are

be

ent pres-

above There the

beyond
several

all other

considerations.

courses

of

study
to

open

to
suc-

portraitworker
"

and
286

necessary

his

FINE habits
of

ART mind

OF
then

PHOTOGRAPHY

acquired

to

be

of

mable inesti-

advantage
As

in his

present work.
with the for ble capato

to the studies

connected directly may be

work

of

portraiture, it
that the

taken
a

granted

photographer

will be
to

technician, since it is useless

express ideas
unless
one

endeavor the lary vocabua

possesses
no more

necessary,

but this is works

in of

than

dation. founof

The

the

great

masters

portraiture
"

Rembrandt, particular,
Raeburn

quez, Velasand for

;

Reynolds, Gainsborough, Sargent

and in
"

should

receive

careful

attention and

character

expression,chiaroscuro
the
camera

pattern
may
as

photography
the

worker
such

profitablystudy
Gertrude Clarence
will the

prints of

artists

Kasebier, D. O. Hill, Frank

White be
and

Eugene,
It of

Eugene
to

Hutchinson.
the

probably
than
of

better

study

works

painters in
color taken
ones,

black-and-white

reproductions,

rather

in the

the disturbing element original,

being
to

thus

eliminated, but
the may

care

should
are

be

see

that

reproductions
be

good
thus

or

the values

fied, sadly falsior

nullifyingthe
student
288

attention

paid them,
best

even

leading the

astray. The

sub-

PORTRAITURE

ject of study, though,

women,

is one's

fellowmen
due
cannot

and

for unless
character

these

receive

attention be

in facility and be for that studied

expression
has
an

tained, at-

this
at

subject, as

been

said, can

all times.
to

It is

excellent
each
a

plan
and

the
he

photographer
makes
in
some

regard

portrait sitting
also
as

the

light of

study,
each

though making
in
two
a

negatives at
he is

stylewith
or

which

familiar, to make
ones,

three in

purely experimental
pose
or

studies necessary

lightor
to

expression.
that
this

It is not is

tell the

sitter

being
so,

done, though it may

an

sometimes

be well to do

intelligent person
desire
in is the well

being impressed by
for excellence and
one

the
operating co-

photographer's
lower

effort; whereas
to

of

mentality
of further

apt

feel that

the

ist specialthe

should need

be master

of the
"

subject,beyond realizingthe
of

study
such
a

not

possibil imany

of

state

affairs

in

branch
It

of human

achievement.
that one's

occasionallyhappens
will be upset in most writer

tions calcula-

astonishingfashion.
upon
to

The
a

was a

recently called
young
289

make

portrait of
19

actress, and

exposed

PINE
twelve

ART

OF

PHOTOGRAPHY
in accordance

plates,seven
with
his

of

them of

being
in

best

ideals

portraiture,the light
and

other

five

purely arrangements
for his
own

and

shade, done

satisfaction

ing carry-

practicallyno
On
"

portrait element
the
one

whatever. the five

seeing the
arrangements
One

results
"

sitter chose
of the
on

and

! portraits the

recommendation

which

author
that

would

lay great
the domain

stress

is to the effect
an

the

worker portrait
into

make occasionally of

excursion
or

landscape
Few

or

genre,

some

other

phase
of

of his art.

if any

of the

great

artists have
one

confined

themselves

exclusivelyto
understood

form

expression,since they

that the artist, like the athlete,is liable to grow

stale, and
rested

that, again like the

his

athlete, he

is of

and

vigor
will

is renewed
or

by
man

change
who

occupation.
to
one

Sooner

later the himself

of effort

sticks
in

thing
and
will
no

find

falling off
or

power,

amount

tion determinatheir

recall

the
can

lagging energies to only

be

proper
rest every

pitch;
and
man,

this

accomplished by
writer whose necessary feels that work in volves in-

diversion, and

the
one

the especially
nervous

the

tension
290

art,

PORTRAITURE

should
He

take

an

interest

in

athletics
of

of

some

sort.

personally
each

makes week

point
swim

taking
or

several
ball. handshould
his

hours

to

box,
the

play

Failing unquestionably occasionally landscape

to

this, get
and

portrait

worker

out-of-doors

with time

era cam-

spend
other

some

doing
not

work

or

photography
he will thus be

lied al-

portraiture,
to

for

enabled est inter-

to

return

his

chosen

field

with

renewed

and

enthusiasm.

XII
THE PHILOSOPHY OF THE HAND

CAMERA

THERE
to

are

two

fundamental of

ways

of

ceeding pro-

the

making

pictures by photography,
its adherents among these
a

each

method
the

having
first may,

pictorialists of
forms of

rank,

and
as

two

approach
be hand
two

simply
the

matter
camera

of

differentiation,
method
advocates of and of the

called
camera

view

method,

since make

the
use

the
of

plans ordinarily

these
In

types
first
out

apparatus.
the artist has

the

method,
his

carefully perhaps
several

thought
even,

picture
genre

beforehand;

if he

be

worker,
various
and

making

rough
of
masses

sketches and the he

showing lighting,

arrangements

possible dispositions
interest times may time
over

of

figures.
has

Or,

if his many

be

in the

landscape, portion

tramped
where

of the

country
and

he

ing be, selectof year,

locations the best

to

determining quality
the when
292

the

hour,
serve

and
to

the
convey

of

light
which time

which he
comes

will wishes
to

idea

express.

Then,

the

PHILOSOPHY
translate ahead
one or

OF
his

HAND
into

CAMERA

thought

picture, he

goes

with
two

decision exposures.

and

certainty,and
are

makes and

These

developed
with

printed, and
Sometimes
of

the

prints are

studied that
a

care.

it will be found
can

amount slight
on

modification, which
or

be done
to

the negative

the

print,will give
a

serve

pull the picture

will

together
sometimes

and the More

satisfactoryresult; and thing

and may

whole often

be

structed. recon-

still the
to

print
no

will

be

found

to

be

complete
Whichever

need be

further
case,

attention.
method

the

this

involves essentially is
as
a

careful rule of
even

preliminary
out

consideration, and
means

carried

by

of

tripod

camera

relativelylarge
at

size, 6y2XSy29
and

8X10,

or

time

11X14;
this

the

photographers
which

who

follow
than

plan

generally print direct

a reason

rather

enlarge, for
later.
not

will be

discussed the
same

In

the other himself

method,
with the

artist does
care,

pare pre-

but

chooses
or

an

approximate
even

location goes of
out

and

arrangement,

sometimes
no

with his camera, he wishes

to

having
express.

settled makes

idea

what

He

numerous

exposures,
293

with

slight

FINE

ART
in the the

OF

PHOTOGRAPHY
of the
"

changes timing
several purpose and
or

arrangement
view

the figures,

point of

occasionally, even,
are

identical
of

exposures

made,

with

the
"

giving
made

different

after-treatment and

these

plates are being

developed
from the

printed, a negative
if
sary, neces-

selection
chosen

set, the

being usually enlarged, and,

modified

by

hand.
use

The hand

followers
cameras,
a

of this often of

method

generally

the
of
case

reflecting type,
exposures,
a

and

make

great number

notable

instance

being
once

in the ited vis-

of the

well-known writer
at

who pictorialist the latter's

at
A.M.

country
noon

home,
and

and
his

between

his arrival
at 8:30

Saturday
on

departure
dozen

the

following plates,
one rangement ar-

Wednesday
three

exposed
of these of two

fourteen

dozen
on

being exposed
and
two

trees
over

figures.
and

This

averages dozen

something
all

three
when

one-half
that
a

plates a day,
were

and

it is added
a

they
mile

exposed
been

within
seen

quarter of

of the house

it will be

that there must

have necessarily

considerable affords

approximate
that
area

repetition;no
different

country

many

tally to-

subjects in
294

the

indicated.

PHILOSOPHY
It will be understood in

OF

HAND
that the
are

CAMERA

many
not

exposures attributable

required
to

marine
mental

work

the

same

attitude

as

that the

here

cated, indi-

but
of

are

necessitated

by
in

impossibility
which

predictingaccuratelythe by
any

form

will be with and

taken the

given
of has

wave,

conjunction
muscular
shutter

necessity (imposed by lag)

wave

the

mechanical before
The the

tripping the
reached
a

slightly by

its final form.

author worker

recently saw
of

discussion

an

eminent artist in method should

and

the first

class,in which

the

question declaimed
of

against the
to
a

second

work,
necessary away

demanding
to

know

why
and
he

it

be

make

lot of

negatives
cusing ac-

throw

nine-tenths

of

them,
which

the workers
not

of the class to

did and

belong

of

carelessness, wastefulness
Yet

over-production.
methods
of

when

we

come

to

sider con-

thoughtfully
two

the

relative
to

merits the
as

of

the that

it is found

be

case

neither the

them
or can

can

be

regarded

absolutely
above
the

best,

be
are

recommended
not

other, since they

processes,

merely different
from persons

nical tech-

but in

arise
the
295

fundamental

psychic variations

employing

FINE them
to
some

ART

OF

PHOTOGRAPHY either is used

control be carried be
to

"

though,
and

of course, whichever

can

excess,

it must of the

degree
will.

under

the

rapher's photogfirst

That

is,the worker
more or

of the

class must
to

permit
and

himself
at

less response
of

impressions received
exposure, its various

the

time

making
the tions condi-

the

the other

must

compare

subject,in
which

changes,
those

with

the

have

preceded
from

of the
a

instant,

refraining at making
he thinks the
of
to
a

times

exposing
further results.

plate and
which

suggestions for
will afford

changes

better

However,
individuals

first class calm and

ordinarilycomprises
reflective interested latter in

temperament,
delicate

given
tonal the

meditation, and

this relationships,
source

characteristic

being
make

of

the observed
fine of

inclination

to
are

rect di-

prints,since
lost in the process

gradations enlarging
the other second

sometimes

or

making

larged en-

negatives.
who follow be
to

On

ers hand, the workare more

the

method
and of
a

apt
and

highly organized
and for

nervous

impetuous
their

temperament,
from
296

impatient
set

of

restraint

eager

action, preferring to
a

make

selection

of

concrete

PHILOSOPHY
in

OF the
form

HAND
of

CAMERA rather than

images
from
call

prints

the
up

abstract

mental effort
more

by
artists in for

an

pictureswhich they the of imagination.

interested
of

These said
care

are

in the

thing

than
more

the

manner

saying it, they

for aesthetand

strength than pictorial

Rembrandt

icism, they admire

more

Velasquez
more

than Robert

Whistler, and
Louis and

Charles

Reade
so

than

Stevenson,

they
bromoil
in

quently freor

enlarge
gum

print in

oil

or

rather Each

than

make

direct
must

prints

inum. platfor

photographer
it is well take him

determine

himself
own

which

styleof expression best

for
some
seven

suits his

needs, and
It may the

him

to to
to

try both
decide reach
"

plans.
it took final

time
years

writer
"

about

decision
the prove

but

it will

be

time

well

spent,
mode

since
will and

knowledge
useful when

acquired

in either in the

working
when

other,
in

the tendencies

developed
as

working

either

styleoperate
up, thus

restraints

when

the other

is taken
faults

minimizing
method.
deserves

the

characteristic

of the selected fact

Another

which

consideration
"

in it

this connection

is that, in
297

colloquial phrase,

FINE
is hard

ART

OF

PHOTOGRAPHY
cold collar."
as

to
one

start

on

Whichever
been

method
remain

adopts, he must,
to

has

said,
must

open
to

immediate

impressions,he
to

be

able

appreciate and
a

seize

suggestions
a

arisingfrom
pose,
one

chance

play

of

light or

itous fortuthat
as

and
so

it is unquestionably the first

case

is not is after the

receptiveon making
several

startingwork
akin

he

exposures.

rently Appato

mind
an

requiressomething
athlete
goes

the
to

warming-up
has those

through prior
every

his greatest effort, and

found

probably
the end

tograph pho-

that his best

negatives are
of the series
to
"

made
not

along toward

it has
to
see

infrequentlyhappened
arrangement
his last of the

the

writer

the best

day shortly
process of tends the be

after

exposing
the

plate!
on

The

selectingand
to

deciding

arrangements
and stimulate

quicken

perceptions though
shutter finds In
some

imagination, and
able
"

workers

may

to

warm

up the writer

by making
that

pseudo-exposures drawing
ful success-

tripping
slide
"

without

the

the

this is not

with

everyone.

fact, probably
himself

every

photographer
frame

will work better

into the desired

of mind

if he
298

makes

bona-fide

ex-

PHILOSOPHY
and the

OF

HAND

CAMERA

posures, when

advantage
this
no

of the hand

camera

striving for
as

psychic
further
factor but

condition

is

so

apparent
There
use

to need
a

comment.

is

further
camera,

entering
this has mental
a

into do

the with

of the hand

to

mechanical
It

rather
is not

than easy
to to

with

tions. consideracamera

carry it up in

large
a

~when

traveling or
offers

set

when
such

chance

impression
hand
camera

and itself,

cases

the
It
templative con-

will prove

exceedingly useful.
followers that
of the

is all very

well method

for
to

the say

they

do not

care

to

make

use

of

chance
case

impressions, but
that fortune
at

it is

nevertheless offers seized

the very

the

times unless One

of is

magnificent opportunities which

on

the instant
best

are

gone

forever.

author's

negatives,a picture which

the dramatic from
a

successful

from

and

pictorial
of
a

standpoint, was ferryboat,and speed

been view
across

secured includes

the

deck

sea

gull flyingat high

It would
to

the

field of view.
of the

have
a

utterly out
camera

question
to

operate
this

rapidly enough
not

secure

ture; piceven

indeed, it could
with
a

have it not

been been

got
that

hand

camera

had
299

the

FINE
writer
was

ART

OF

PHOTOGRAPHY

considering photographingthe scene the bird appeared, and was when able to press the right instant. Of the triggerat precisely
course,

it

was

pure
one

chance of the

that

afforded

this

picture ; it was
of

perfectarrangements
"

atmosphere, sea and sky not to viewpoint, mention the gull that could happen but once in a lifetime, but the pictureis none the less a
"

success.

In
a

"

Micah

Clarke," Decimus
a

Saxon

describes

duel in which
smote

young his

and

enced inexperiunusual he
ered recov-

swordsman
across

expert opponent
that

the face with

so

his

which rapier,
ere

act

took from

the latter aback his

"

astonishment

the

youngster
"

killed him.
matter
were

Doubtless," says
to

Saxon,

if the

do

again

the

Oberhauptmann
sooner,

would
was,
no

have

got his thrust in

excuse

but, get
like

as over

it

explanationor
man on

could
In

the fact that the

no

was

dead."

ner, man-

argument
can

the part of the deliberate the

fact

workers

get
that

over

that been

here

is

and picture, in
no

it could

have

obtained

other way.

The

advantages
when

of the hand

camera so

for
as

ord rec-

work

are traveling

obvious

to

need

no

enumeration,

and
300

the

argument

ad-

FINE

ART

OF

PHOTOGRAPHY
bromide be
in oil

one

11X14

or

14X17 is to

or
or

bromoil.

If
or

the gum,
case

large print
the expense

platinum

will be

greater, since in that

4X5

there will also be

and
a

required a

ency transparor

large negative, but

there
in

if bromide

bromoil

is used

is little choice.

There

is

little difference
two

the

time

consumed
and

by

the

methods,

the

consideration

reflection
on a

of the first

type of worker

being
to

about

par

with
among

that

given by proofs

the second
to

from selecting

his

and

modifications. possible
he

If the latter
some

prints in

bromide
over

probably has
oil or
way.

slight advantage
of

the other in the matter

time, but if he prefersgum,

lies somewhat the other is in
anyone
to
no

bromoil,
ever, How-

the choice the should

not

difference
influence suited

case

great, and
a

to

adopt

form

of

expression not
As is
two to the

his inclinations. the results,there

artistic

qualityof

absolutely no
modes of

choice

whatever

between

the

approaching the problem, this

the artist's

depending entirelyon
power,

imaginative
and be

technical

sensitiveness skill,

tic artissaid

conscientiousness,
that

though
the
302

it may

the

photographer of

second

class is

PHILOSOPHY

OF

HAND
the of

CAMERA
other.
It

generally more
anything
is

than prolific
manner

is

doubtful, though, if the

to do with

working

has

this ; it probably arises from

the fact that the nervous,

more

highly sensitized
ideas
and has

vidual indimore

of prolific than the is

a

driving force
each
case

more

reflective type.
to

In

there The

danger
is

be

guarded gling, nigmere

against.

first worker

apt

to become

meticulous gestheticism ; the

careless
too

and second

over-interested
runs

in

the risk of growing

of

in his artistic grammar,

to values
on

paying
of

littleattention much

and

gradations,and
force his

relying too
ideas.
workers The

the has

inherent
seen

writer
to

many
one
or

promising
the

brought

grief by
that held

other

of these two the

so pitfalls, once

they

failed to fulfil
he

hopes they

out, and

would

suggest that each

an

photographer
for this

strive to cultivate

admiration work.

the
means

style in

which

he

does

not

By
of

he will not

only
he

retain

the

purity
attain

his artistic conscientiousness

a mere

and

avoid

becoming
that

but stylist,
and

will also vision

broadminded
no

liberal
true

without
any

which
branch

man

can

achieve

greatness in

of human
303

activity.

XIII
CONCLUSION

THE in his

author

has

many

times, both
that
it

orally

and
a

writings,
to

said

is

possible
in

for
mere

photographer
technique
and
statement
"

become

interested
of his artistic

to

the the Mr.

detriment

sion, expres-

in

present
Wentworth

book

will
to

be

found

by

the

effect

that But

of

technic

enough
deserves

is better
some

than further artist

more."

this

question
It

tion. consideraever

is doubtful

if any

can

have
stantly con-

enough

technical

knowledge;
which demand other worker

problems

are

arising
with various
ones, must

acquaintance
than of the
tomed accus-

processes

and leave

the such

limited unsolved

edge knowlor

problems
in their certain he chosen

be

only partly
it is technician have become insist inherent

successful
no means

treatment.

ther, Fur-

by

that the Some its

own

the
other

skilful

could,
a

had

path,

great
each

artist. mind and

304

gists psycholodefinite
its

that

has
can

capabilities,

find

fullest

CONCLUSION

development only along

The author that does
not

the lines

so

indicated.
mits ad-

share
may

this belief,but be advanced

arguments
At

in support that the

of it. worker who

all events, it is certain his entire attention

devotes
must

nical to techthe

processes

necessarily ignore
determine

studies that

to requisite

full artistic
must

expression,and
for

each

photographer
almost

himself
It
to

where
a

lies the balance.

"

is

common

a can

universal be

"

error

suppose

that

knowledge
teach

taught.

No

person

livingcan
all

another wisdom

ever; anything whatand

on

knowledge,
a

skill must the part of

come

through
student.
,

voluntary
most

eff ort

the

The

that

the

teacher
to

can

do is to stimulate, to suggest, and

errors,

point

out

and the

this is most faculties

upon
to

conspicuously the
reason

case

where
are

of

and

imagination
teacher
can

called

function.
be

The

make

statements

to

memorized

by
exert

the

dent stu-

(even
but
to to

here

the latter must

necessary
or

himself)
student

when

it becomes

for the his

employ develop
20

his

logical powers
of

imagination,
or

his powers

observation,
must

to

quire ac-

he manipulative skill,
305

travel

alone.

FINE

ART

OF

PHOTOGRAPHY

Further,
and

artistic
are

perception, appreciation
not

expression
to
a

definite
on

things; they
taste

depend
and

great
on

extent

personal
likes
and

and

preference,
on

individual
mental

dislikes,
not

the

general
artist but

development
to

only

of the

of those
a

whom

he

ap-

Js.
we can

is jTechnique
"

matter

of pure and
we

science: such be and

sure

say:

If

we

do

thus

so,

such that be

results these

will

follow," and
will
of is

may

results

always
the

and

inevitably
ing Nothfects ef-

the consequence
of the may

originalact.
and
are
can

kind follow

possiblein art;
one

manifold
same

from

the

cause,

for

no

two

human that
a

minds

precisely alike,
say
on

and work which

from that

the most will have resemble external

I do,
or

the artist certain

own

is:

"

This

effect

those

minds receive

my

to sufficiently
same

objects the
the
the

impressions
to

impressions similar
reasons

mine.2
made
no

For

these
to

author

has

attempt
"

follow

lines of his former

Its

book,
and

Pictorial

Photography,
He has
not

Principles
to

Practice."

endeavored

inite give def-

instructions

for the

production

of definite
;

results,as

was

in possible
306

the earlier work

such

LEYLET BY
From

EL Y.

WAHSHAH

H.
a

SUMMONS Print

Carbon

FINE
the eternal

ART

OF

PHOTOGRAPHY march
and

and

inevitable

upward

growth
The which of

of life.
one

fundamental

and

unfailing law (and

upon that of cies spe-

the

life of this world

worlds
;
an as

probably
is that
race,
a

other

well)

is based
a

progress

individual, a nation,
not

which
is

does

contribute

to

this progress
the
some

unhesitatingly eliminated
and
to

by
have
We

forces

of

nature,

only
are

those

which

bution contrithis
we

offer

preserved.
it manifested

observe

fact

not

only
we

in the historical records find also

which
in the
so

have, but
of
are

case

prehistoricspecies and
forced
at
to

genera,
to

that

we

conclude

the law

be

everywhere
this
to
clusion con-

and

all times

operative.
others he of

From

follow
artist
:

two

importance
never

the his is his

The

first is that
never

may

relax

efforts, may

feel

that of

his

knowledge
in

sufficient,under
powers of vision

pain
and
must

retrograding expression; he
endeavor his

of

must to

always work,
in order

and
to

always

prove, imhis

maintain
not

positionand
falls

ability
"

whoso

does is

advance

back. has

The
to

other inference

greater than
308

this,and I
"

do with the artist's

responsibility. jThedesire

CONCLUSION
for artistic
to

expression is
as
a

one

sires of the earliest dethe

awaken

race

develops beyond
shelter, and
the the scientist in fellows

daily needs
stands

of food

and

artist

side

by

side with

guiding,
in

directingand
voyage

stimulating his
darkness
into

their

from

light.
art
comes

Indeed, it is probable that science, and

have felt
"

before
men

it is known the and desire for

means

that

Palaeolithic

graphic expression,
discreditable
races ones

drawings
"

by

no

being

found

among

the relics of
years ago,

which
dating ante-

existed

twenty

thousand

and

(being, in fact, the hieroglyphics which writing.

were
as are

precursors earliest and but

of)
form

the

the

of
men

These

Palaeolithic

Neolithic
were

not

only draughtsmen,
some

sculptors
are

well, and
well

of
to

their

figures
a

ciently suffi-

done

indicate

higher stage
than

of

mental

development

in their makers

does

the Cubist

sculpture of

the present
a

day, which,
reversion
to
a

indeed, may
a

possibly represent
if
we

pithecoid mentality,
It

employ
a

such

phrase.
far

follows, then, that

upon many
309

tremendous

devolves responsibility
so

the

artist,who,
seem

from

being,

as

people

to

FINE

ART

OF

PHOTOGRAPHY

think,
leader Art
nor

mere

an parasite,

amuser,

is
of

actuallya
mankind.

of

thought
a

and
to

teacher

is not
is it
a

study
to

be

undertaken
"

lightly,
in

work

be

followed

jesting

guise."
It

is,however,
the
to

mistake
be

to

say,

as

some

do,

that and

artist should
; it is

indifferent
one

to

money

fame

right that
suitable
of Of

who

gives us
or

something
should

of

value, whether
a

material

chic, psythe

receive
the

return,

and

desire
normal may

for

applause
instinct.

one's
course,

fellows the

is

human
become
or

artist
ward re-

excessively greedy
but
must

of financial

of renown,

this

danger is common
a

to

all men,

and

be

guarded against by
Further, it is
not

proper

mental

balance.

essary nec-

that the worker

art.

devote

his entire time

so

to

It is desirable
so

that he do

and if possible, in
a

the

doing

will

self -evidently result

of his powers;

greater development

but
and
at

if the
he

exigenciesof
wishes
to

his what

daily life prevent,

he
can

still

do

in the
a man

time

hand,
was so

this also is well, for many restricted has

to

who

nevertheless the
sum

made human

valuable

tributions con-

of
310

knowledge.

CONCLUSION

But
a

whether
or

art
a

be

vocation from

or

an

avocation,
it

life-work be the
as

relaxation

daily labor,

should with

undertaken determination

soberly, seriously,
that
we

and this
we

will thus

do
can

thing
deserve

well well do
the

as

in
our

us

lies, for
fellows.

only LThe

of

artist

who he is

it

to jstoops

meretricious
one

work

because the

|
"

well

paid,

who the

lightly accepts thing

easy
"

beauty
these sold
worse men

because
are

greater

is difficult

to

be
for

pitied, for they

a

have
of

indeed
or,

their

souls

few

pieces
ease.

silver

yet, for
is

their
fortunate

personal
who

Only
his best

that
at

man

truly
who
see

gives
labors He
of firm

all times, that

unceasingly
or

for
may

the miss

finest the

he

can

dream. the

financial
but he

reward will

or

praise
be
used

the

multitude,
in the
sciousness con-

nevertheless he has

that will
come

his talents that

he

well, and
some

to

the

realization hand
and

has, in
the

measure,

worked that
govern

in hand

with

eternal

forces
for the

control
forever.

all life, not

only

passing

day

but

INDEX
Accessories Aerial
in

portraiture,
120 38

257

Defoe, Detail,

Daniel,
65 16

27,

146

perspective,
composition,
of 26 15

Analytic

Donatello,

Appreciation

art,

tion educa-

Dugmore,
Du

A.

Radclyffe, George,
150

172

required,
Art, definition,

Maurier,

Emotions Artificial
175 Entrance

expressible
24,
and
69 25 exit

by

tography, pho-

light,

in

illustration,

of

tures, pic-

in

portraiture,
120,

254

Atmosphere,

139,

246,

283

Estheticism,

37 105

Backgrounds
357,
270 50 56

in

portraiture,

insufficiency of, 18,

Eugene,
Fine

Frank,

288

Balance,

arts,
status

definition,
of

15

by
Breadth

motion,
of

photography
20,
23

handling,
Anne

66

among,

Brigman,

W.,

106,

154

Form,
21,

intellectual
244 with 110

appeal

of,

Caricature,

basis

of, 69, 236

association
various

Collier, Color,

Catherine,

54,

283

emotions,

importance
115

in

tography, pho-

Gainsborough,
243 117

288

in in in

portraiture,
summer,

Gilpin,
Hals,

Laura,

82,

279,

283

115, 132,

Frans,
of

179
camera

winter,

140 244

sensuous

appeal,
80

Height

in

tecture, archi-

186

Contrast,
"

in

Croquemitaine,"
21

95

portraiture
D.

271 288
a,

Cubists,

Hill,

O., 250,

Hiller,
Da

Lejaren
283 "Line

81,

166,

172,

Vinci,

Leonardo,
98

287

279,

Definition,

Hogarth,
313

of

Beauty,"

63

INDEX
Horizon,
Hurter low and 198
vs.

high, 112, 187

curve,

Nast, Thomas,
Non-halation

107

Driffield

plate, 122,

187

125,

Nude,

143, 147

Hutchinson,

Eugene,

255, 288
31

Hybrid printing mediums,

Illusion of
98 reality, 241

Orthochromatic

plate, 120, 132,

259

188, 209
Outdoor

portraiture, 250,

Imagination, 36,
Intellectual

Inspirational photography, 103

Panchromatic

plate, 120, 122,

279 162 92

appeal

in

art, 21
101

133, 187, 243, 254, 262

Panoramic
camera,

Interpretive photography,
Kasebier,
283, 288

Pennell, Gertrude,
106, 154,
Peter

Joseph,
Great,

the

Pin-hole, 188
Poe, Poore,

Key,
in in

83

Edgar
Henry

Allan,

108 278

landscape, 110, 114 portraiture, 251, 280

scenes,

R., 54,

Posing, 268, 270, 272

of
Poster

in winter

127, 131

hands, 274
effects,
135

Leading line, 53
Lens,

type, 114, 123, 148, 185,

262

Post-Impressionists, Printing mediums,

157,

160

209, 234,
focal

30, 134, 191,

301

length, 123, 184,

of different

209

192, 210, 245, 260,

Line, effects
58

types,
Racial

memories,
288

83, 94

"Line

of

Beauty,"
of

63

Raeburn, Raemakers,

Literalness

photography,
outline, E.,
106 146 285

Louis,

107

167, 242,
"Lost and

246 found"

Ray-filter, 120, 132, 188, 209,

254 Record

photography,
camera,

101

Macnaughtan, Malory,
Mark Sir

W.

Reflecting
294, 301

124,

208,

Thomas,
159 155

Twain,

Rembrandt,

244, 280, 288, 297

Meissonier,

Repetition, 6T Repin,

Michelangelo, 16
Millet, J. F.,
Modification
161 of

Ilya, 160
261

Retouching,

photographs,

Reynolds,
Ruskin,
314

Sir

Joshua,
246

288

20, 29, 30, 242, 263

John, 138,

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THE

LAST

DATE

STAMPED

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