.A FI DO 1 ion of Subject IN P | r i i v. 'f \ p i 7\ vp {\ IA HOTOGRAPHy / 1 SELECTION OF SUBJECT. BY W. F. TINDALL. FRONTISPIECE. THE SELECTION OF SUBJECT IN PICTORIAL PHOTOGRAPHY Bv W. E. TINDALL, R.B.A., Secretary to the Yorkshire Union of Artists. ILLUSTRATED FROM PAINTINGS, DRAWINGS, AND PHOTOGRAPHS. [all rights reserved.] LONDON: ILIFFE & SONS Limited. 1901. Digitized by the Internet Archive in 2017 with funding from Getty Research Institute https://archive.org/details/selectionofsubjeOOtind PREFACE. If any apology be required for putting forward the hints contained in this book, that apology is to be found on the walls of the photographic exhibitions. The writer freely admits that the majority of the works there to be seen are of a high technical quality; yet in many cases they are such that they could be considerably improved were more attention given to the subjects of point of view, the value of lines, and the meaning of “tone values” and their reproduction by photography. It is with a view to the improvement of photographic work in these directions that the following pages were written; but it is the wish of the author that they shall be found not merely instructive, but interesting also. W. E. T. CONTENTS. \ Chapter Page Preface . 5 I. On the Subject generally and the Influence of Clouds .... .... .... .... 9 II. On Arrangement and Point of View .... 13 III. On Colour. Its relation to tone value .... 18 IV. Lines to look for in composing a Picture 27 V. Birch and Bracken. 33 VI. On Coast Scenery .... .... . 39 VII. Treatment and Composition of Seascapes 44 VIII. Cattle Subjects .... .... .... .... 48 IX. On the Introduction of Figures . 54 X. Portraits .... .... .... .... .... 58 XI. Single Figures and Objects .... .... 64 XII. Figure Groups . 71 XIII. Conclusion .... .... .... .... .... 77 Index. 84 CHAPTER I. ON THE SUBJECT GENERALLY AND THE INFLUENCE OF CLOUDS. TV yf ANY photographers have paid much attention to, and have made themselves very proficient in, the technicalities of their craft. Whilst they cannot have too much knowledge of these technicalities, there is a tendency to pay much attention to them at the expense of other matters that assist in the making of a picture. Given the technical skill, the photographer must find some subject on which to apply it. In this operation he will find his technical skill of very little use to him. His knowledge of photography will tell him what his plate will be like when exposed and developed, but this knowledge has very little to do with the selection of a subject. Therefore, with the assistance of some sketches, I shall endeavour in this book to point out how his pictures of any given scene may very often be improved by judicious selection of position and lighting. IO SELECTION OF SUBJECT. We will take lighting first. As the principles governing the different classes of subject—figure, land¬ scape, seascape, etc.—differ somewhat, we will take that one most useful to the majority of photographers —landscape or general rural scenes to be found in most parts of England. Select a bright sunny day, with plenty of strong clouds about. Not only does Nature look much more majestic and grand when strong clouds are about, but they are of great importance in the composition of the picture. Although the photographer may not be able to get both landscape and clouds on one negative, their presence proves the possibilities of a subject, and enables him to see and feel what the final results should be. If he cannot get the clouds on his negative, by means of them he will be able to have part of his picture in sunlight whilst other parts will be in shadow by the clouds. This is of great importance, because a picture with the light all over it fails to have any concentration, whilst one all shadow fails for the same reason. We will take an ordinary landscape with a tree or two on the left as the principal object. The sketch (Plate II.), from an actual scene, and in no way made up, will illustrate this. It was made on a cloudless day, and when finished did not appeal to me as having any picture merit other than that the lines were fairly well balanced and not unpleasant ; but it all looked very weak and thin—it gave me no sense of what we may call the size and weight of nature. SELECTION OF SUBJECT. BY W. E. TINDALL. PLATE II. (see page 10.) I ■r SELECTION OF SUBJECT. BY W. E. TINDALL. PLATE III. (see page n.) THE INFLUENCE OF CLOUDS. II I therefore allowed the small sketch to suffice, and went to find another subject, which (if I remember rightly) I failed to find, doubtless from the fact that Nature was not in one of her artistic moods that day, or it may have been the subject searcher who was not in an artistic mood—but the fact still remains, the picture making light was not present when the first sketch was made. About a week later, when tramping upon the usual errand, “ subject hunting,” but on a very different day—one with plenty of light and shade— passing the same place from which the previous sketch was made, I found that the principal tree on the left was well in shadow; the trees in the middle dis¬ tance had more power, because the shadows under¬ neath were stronger, and, above all, there was a sky. I therefore made another (Plate III.), which, when com¬ pared with the first one, will be found to contain much more feeling for the power and weight of nature. It is not always that the photographer is in sympathy with his subject, so do not take off the cap until you are convinced you are right, and do not be convinced all at once. You hear about first impres¬ sions being best. The reverse is often the case when selecting a subject, and, although you may feel you have got a splendid position, you may find that the friend who is with you has got a better. There should be no hurry in picture making or subject selecting. An hour spent in watching the different effects on a landscape subject is very often the most profitable time spent on the picture. Makers 12 SELECTION OF SUBJECT. of cycle repair outfits advise their patrons to smoke a pipe after coating the patch with solution and before sticking it on. This is excellent advice to photo¬ graphers when selecting subjects. If the subject turns out a failure, blame the brand of tobacco. A subject should not be all foreground; neither should it be without foreground. Do not expose a plate (if it can be helped) with the lens pointing towards the source of light. These subjects are very difficult, and seldom satisfactory. They glitter in a most irritating way. It is a mistake to imagine that distant views make good subject matter. Distance is neces¬ sary, but it should lead from the other parts of the subject by easy stages, and on no account should there be a jump from foreground to distance. Do not try to balance the picture by trees on each side of it; this shuts in the subject, and makes it appear much smaller than it would do otherwise. Any subject which appeals to you as being quite right is so far a good subject. CHAPTER II. ON ARRANGEMENT AND POINT OF VIEW. TN selecting the position from which to expose the plate, the great difference to the subject which moving the camera a foot or more to the right or left will make will be apparent to the photographer. To emphasise this, let him stand on the road with a row of telegraph poles or lamp-posts running away from him in a straight line, one behind the other, his own position being at a distance of three yards from the first post. If the posts are in a straight line, he will only see one, that nearest to him. Now if he moves a foot to the right or left, he will find out at once what a difference that foot makes. He will see a whole row of posts with various spaces between each, according to distance. Those nearest will be widest apart, and the distance between each will be reduced as the posts recede from him. The same system applies to all objects in nature. The nearer the object is, the greater will be the difference in moving the position to right or left. If two photographers unknown to each other were each to take the same subject, it would astonish most 14 SELECTION OF SUBJECT. to see the difference between the two pictures. They might be each of them equally like the place (and probably would be), but they would be very different from each other. It will be sure to be found that one is a much better subject than the other, simply because the worker who did it knew more about the laws governing composition, and therefore selected the best position. This really applies more to the photographer than the painter. A painter is allowed a certain amount of artistic licence. So is the photographer with the ability and knowledge to use it. But a good many photographers are restricted to the matter before them, and are unable to do much more than control, subdue, or heighten, the light and shade within the subject material placed before them. It is therefore of the first importance to the man who desires to produce something in advance of the large proportion of the photographs we see to make himself acquainted with the principles of composition, and to study from which point it is best to take a negative. A golden rule to be observed in selecting a subject is that of simplicity. Not only simplicity of lines, but simplicity of detail. Detail sometimes attracts photo¬ graphers in an alarming manner. A rustic cottage with a beautiful flower garden without any surroundings does not necessarily make a picture, notwithstanding the beauty and detail of the flowers; and if it is photographed without due respect being paid to com¬ position, there will be disappointment with the result when finished. SELECTION OF SUBJECT. BY W. E. TINDALL. PLATE V. (see page SELECTION OF SUBJECT. BY W. E. TINDALL. PLATE IV. (see page 15.) ON ARRANGEMENT AND POINT OF VIEW. 15 The sketches (Plates IV. and V.) represent an ex¬ tremely picturesque little homestead, but I found the greatest difficulty in getting a pleasing composition out of it. Although the cottage was very picturesque, it was not sufficient to make a picture in itself. I endeavoured in the first sketch to treat the subject by the laws governing diagonal composition, by an apparent line running from the top to the opposite bottom corner, but the attempt was not a success. There should have been something in the left-hand bottom corner which would have prevented the eye of the spectator running out of the picture, and would also have balanced the mass of dark on the right. The something was not present; the sketch therefore gave the impression of having all the picture tucked up in one corner, and was anything but satisfactory. Now, this something required could have been introduced by the painter. It might have been a stone, or a gorse bush. But photographically it would have been very difficult. As an example of what balance will do I have marked with a white cross the place where the bush or stone should have been placed. If the reader will try the effect of placing a piece of black or dark paper about half an inch square, with the bottom edge on the cross I have marked, he will find how much it draws the picture together, and brings him back into the centre of it. But to get a picture without faking, I went nearer to the cottage and more to the left. I then saw more round the back of it, and, as the trees run from it, I 1 6 SELECTION OF SUBJECT. was able to see more of them. They backed up the building much better, and the line of the heap of straw at the end of the cottage, which was unpleasant in the first sketch, now became pleasant. I found that from this position it could not be treated by the diagonal composition, like the previous sketch, and therefore I decided to adopt the pyramidal composition, viz., that in which a group of objects apparently forms a pyramid. This method is largely employed in grouping figures. Now, in my anxiety to keep the apex of the pyramid from the centre of the picture (which those who look at the drawing (Plate V.) will see I succeeded in doing), I got an uninteresting shed running out of the picture on the right. This was not a pleasant line, and had very little to do with the composition. It was most annoying, particularly after all the trouble I had taken, the more so as I was convinced there was a picture in that cottage if only I had the ability and patience to find it. I left it with disgust, and in an unhappy state of mind wended my weary way homeward. In the composition of most mortals I have met there is a certain amount of tenaciousness, and this came to my assistance during the evening. I got out the sketches and put them on an easel, and, being comfortably settled in a hammock chair, I proceeded to study those sketches. I then discovered what every photographer would have discovered hours ago, to cut off that part of the offending shed. But I did not—I decided instead to return to that cottage next day, and ON ARRANGEMENT AND POINT OF VIEW. 17 from the very same place from which the second sketch was made, to slew the camera round, in photographic parlance, until the offending shed was not in the picture. This decision I duly carried out, and was amply repaid for the trouble. I got rid of most of the shed, and secured a much better composition in addition. I will give the reason why I did not cut off the offending shed from the second sketch. The reader will remember how anxious I was not to have the apex of the pyramid in the centre of the picture. Now, by cutting off the shed by the first tree over it, I should have just managed to do that which I was most anxious to avoid. But by returning and looking rather more to the left (or slewing round the camera), I removed the apex as much to the right as it is now to the left, for the amount of space cut off the shed was added to the other side. I regret I am unable to give a reproduction of the third and finished picture. It has changed ownership, but if a piece of paper is placed on the right of the picture, cutting it off by the first tree over the shed, and the same space is put in imagination on the left side, a very good idea of what it was like can be obtained. To complete the picture, some fowls were near the cottage, and some smoke from the chimney going in the direction of the top right-hand corner. CHAPTER III. ON COLOUR: ITS RELATION TO TONE VALUE. TT AVING selected the subject, and quite settled ^ which is the best position from which to expose a plate, one is left with an extremely difficult problem to solve—tone value. A knowledge of the important part tone value plays in the true representation of a subject will be of great assistance to the photographer. Even to the painter with all the advantages of colour tone value is of the most vital importance. Tone value has no reference to colour: it repre¬ sents colour, but has reference to the different tones in a picture in the scale of light and shade. Upon the true rendering of one tone as compared with another depends the whole effect of light and shade. They must be in proper tone value to render aerial perspec¬ tive correctly, and give the relative distance between one object and another. A picture is very often thrown out of tone by a desire to express distinctly everything that is seen, and in doing this the general balance of light and shade is forgotten. It is not only by detail that we may err in not giving proper tone, •S * X >> ci W V - C > ^ 4, - O O C rt o X aj ffi O PQ £ 0) d £ m : nj C/3 H SS^S r-* c _, C/J H o 2 "fi S S O O 0) ■° * o' id o Z -o. f 9 £ e & 5 o . 6 g T3 4 ) TD 0) ccj PS P or, y> q. P M o ,1 s 1 X oj ^ m !S c TJ X CD n M H < J Oh ON COLOUR. 19 but our picture may be printed too dark or too light. One would not expect to see a sunny open landscape printed dark, nor a thunderstorm printed light. A false note in tone is as offensive to an artist as a false note in sound is to a musician. As sound without tone is simply noise, so is a picture without tone only pigments. Photographic workers may find consolation in the fact that etchers, engravers, and all black and white workers suffer from the same disability, viz., lack of colour. Yet very beautiful pictures are produced without colour. Now, the ordinary plate does not render colours in their proper value. It is therefore all the more necessary that photographers should study the question of tone. As a knowledge of colour, primary and secondary, with the different shades made from the primary colours and the complementary colours to them, will assist that knowledge, I will give a method by which each one can prove for himself how these colours act upon each other. A writer has said that “ fashion is the substitute for good taste, with which it sometimes coincides.” It should be the endeavour of the art worker to direct the fashion so that it shall not be an outrage on good taste. It is accepted for pictorial purposes that red, blue, and yellow are the primaries, and purple, green, and orange are the secondaries. White light contains all the colours, and can be split up by the prism into red, orange, yellow, green, blue, and violet. Speaking of the visual characteristics in this order, 20 SELECTION OF SUBJECT. we shall find that red is the colour which is most exciting in its influence, and the most trying to the eye when dwelt upon for any lengthened period. Of orange it may be remarked that it is the warmest tone we have ; in pigments it is produced by yellow and red. Yellow is the lightest of the colours, and its luminosity combined with red produces the effect of heat. Green is of all the most grateful and soothing to the eye, and is the most predominating colour in a natural landscape, though much more modified and blended with other colours than is generally supposed. Blue is the coldest of colours, and purple, the admixture of blue and red, is the darkest. If we take three pieces of glass, respectively red, yellow, and blue, with the heads crossing each other as in fig. 3, we shall see that when blue is transmitted through red purple is produced, where red is mixed with yellow orange is the result, and when blue and yellow are mixed green is the colour produced. By this arrangement we can see in a clear manner the colours complementary to the secondary colours green, orange, and purple. That is to say, where red and yellow combine that colour is produced which is opposite to the primary blue—not only in position but in greatest possible contrast. Blue, the primary, being the coldest and orange, the secondary, the warmest colour. Where red is crossed by blue we find the complementary secondary purple of the primary yellow. In the same manner, the one (purple) being the darkest of all the colours, and the other (yellow) the lightest ON COLOUR. 21 of all, it will be noted that here we get the most power¬ ful contrasting combination. Passing to the remaining primary—red—we find its opposite to be green ; thus the most exciting colour (red) has for its com¬ plementary the most soothing colour (green). Fig. 3. I have but briefly indicated this colour question, but anyone who cares to study the matter will find that it possesses very great interest to photographers, for a knowledge of colours means a knowledge of the different strengths or power in which colour must be represented in black and white. Now neither black nor white represents to us any colour, but we may by the proper value of black and white give them any colour we please, to be graduated from the dark note 22 SELECTION OF SUBJECT. of the one to the light note of the other. Thus ex¬ cessively deep red would finally be lost in blackness, or if we ascend the scale it would be lost in the white paper (fig. 4). Light changes colours. Bright sunshine, for in¬ stance, on a whitewashed cottage lends yellowness to it, whilst the shady side of the cottage would be blue- purple—its complementary—but it might also be Very deep red. Very bright red. Fig. 4. illuminated in an overpowering manner by reflection from its surroundings. This must be kept in mind when trying to give proper tone value by photography. An anecdote, illustrating the effects of comple¬ mentary contrasts, has been told of an ingenious but unsuccessful artist who was unable to sell his pictures. So he had his visitors’ room painted with all the most colourless colours he could find. After having made his prospective purchaser’s eye in this way hungry for colour, he produced his pictures. The visitor thought it the most beautiful colour he had seen. For the moment we will leave the theory of colour, and endeavour to apply the knowledge so far acquired to photographic purposes. Red, blue, and yellow are the foundation of all colour, and, therefore, of all tones in the scale of light and shade; these are ON COLOUR. 23 the colours the photographer is required to produce in proper relation to each other. To photograph these colours in their pure state is a very difficult matter, if not almost impossible. Fortunately for the photo¬ grapher, in nature one rarely, if ever, meets with pure colour; it is usually a mixture of the three. It there¬ fore becomes possible to the photographer with a knowledge of colours and their relative values to get a landscape picture, the tone value of which may be fairly accurate. With flowers it is different, and special means must then be taken. In making a picture by photography, special note should be taken of the predominant colour in the actual scene, and with the knowledge possessed by a photographer of the actinic rays given off by each of the primary colours he should take the necessary means to regulate the action of those light rays. Dark blue in the scale of tones should be represented by a dark tone on the photograph when finished. A photograph can be made to represent green with considerable accuracy, and the same may be said of purple on account of the red in its composition. The two most difficult colours to represent in proper tone value are blue and yellow. We very seldom get blue in landscape, except in the sky. With yellow it is very different. It often appears in landscape, and care should be taken to render it in correct tone. We will take white as light and black as dark, so that all tones between these are in the scale of light and shade. We very often see the darkest shadow in a photograph 24 SELECTION OF SUBJECT. absolutely, or very nearly, black. This may appear to be so, but just try the effect of a perfect black against that which is dark in the picture ; it is surprising how light in comparison the dark in nature is to a perfect black ; and by placing the two together the real value in the scale of tones of the shade that is being re¬ produced will be found. A method, a very simple and valuable one, and one I often use to find out the true value of one tone to another, when in doubt, lies in providing several slips of paper. On the centre of each I paint two or three tones in the scale of black and white (fig. 5). St_5 _1 IP h ''ll' L i L J Jll JilitU Fig. 5. (Photographers could make these by cutting up old prints.) Say one is in doubt as to the true tone value between a tree and a hill behind the tree. The tone slips are tried, holding one between the eye and the tree until the proper tone is found. When the proper slip has been used it will be found almost to melt into the tree. Next, by the same process, the tone of the hill behind is found. On comparing the two slips the proper tone value can at once be seen and the relative distance between the two objects preserved. I do not wish to say that this method can be carried out in its entirety in photography, for with the ON COLOUR. 25 almost innumerable tones and semi-tones in a photo¬ graph it would be next to impossible to do it, but with a knowledge of the actinic properties of colour and the simple method of tone-finding, photographs can be, and are, produced which in their main objects and principal masses are much more correct in their relative tones than a photograph produced without this knowledge. All art workers should be like the lady shopper who lays a piece of ribbon on the draper’s counter and says, “ I want two and a quarter yards of that.” “ Yes, ma’am, this is the shade, I think.” “ Oh dear no; it’s much too blue—or too dark—or too dead—or too dear,” and she goes to other shops till she gets it, and leaves the shopman to put away a mountain of ribbon. When you want a tone—take as much trouble as a draper’s customer—try to educate the eye to see nature more as a map or in flat tones one against the other. It is sufficient for the production of a picture to under¬ stand and see in nature the great leading masses of tone, in the manner of Constable, Turner, Wilson, Claude, and others. Detail must be known, under¬ stood, and expressed, but it must be kept subordinate, so as not to force itself unduly upon the eye and thereby destroy all tone quality. Turner’s picture in the National Gallery, “ The Garden of the Hes- perides,” is worth study, as an illustration of the know¬ ledge of nature—a knowledge which, having all the heart, pushes aside everything which is worthless and not subservient. Trivialities of detail are lost in the bold treatment, but are suggested in wonderful gradations of tone. 26 SELECTION OF SUBJECT. No amount of constructive skill is of any value without a due perception of tone. There is a colour quality in black and also in white. The black required is not a dead black or a dry black or a bright black, but a rich juicy black—a black with power in it. Yet it must possess the quality to express tenderness—a black that will suggest space and not give the im¬ pression of a piece of grey paper; this kind of black will be found in some first-class etchings or engravings, which seem to possess life. The white wanted is really not white at all, but should have a warm tone through it. Remember there is a certain space between the camera and the nearest object in the picture. This space casts a certain value over all objects in nature, and gives a uniformity of feeling. CHAPTER IV. LINES TO LOOK FOR IN COMPOSING A PICTURE. T N picture making by photography there are certain laws governing the composition of lines and masses with which it will be well for the picture maker to be acquainted. There are a few well defined laws which can be found in most subjects, and these laws I will endeavour to point out. Composition in its literal sense means to arrange, but as the photographer cannot very well uproot trees and remove houses, the word composition has been given another meaning. In the artistic sense com¬ position means to arrange the point of view in such a manner that the subject matter given by Nature will conform to the laws governing the composition of a picture. Upon the skilful selection depends the excellence of the composition. In all cases, observe, an intended unity must be the result. In order that the spectator may view with ease and pleasure, a picture must not contain any jumpy or isolated spots, but must “ hang together,” dominated by a leading motive. For instance, spottiness or strongly marked 28 SELECTION OF SUBJECT. contrasts in different parts of the picture—such as several trees which are separated and stand up against a bright sky, and do not form themselves into groups— by their too much outline have a tendency to destroy all unity, and are not pleasing to look at. There is no rest in them—no concentration—nor are they domi¬ nated by a motive ; they are, therefore, failures. Scattered trees may often be made to group by taking them end on. Taking the diagonal laws first (as they are more generally used than the others), the principal line should apparently run from the top to the opposite bottom corner. This line should be by no means a hard and fast one; it is only an apparent line. For example : we have a group of trees on the left of the picture. Endeavour to follow that line by a subordinate group of trees lower in the sky line. Again, attach it to something in the foreground, on the right, which will stop it running right out, so that between the principal group of trees and the something in the foreground space is left for the spectator to wander at pleasure. The illustration (Plate VII.) gives some notion of what I mean. Note the main trees are not in the corner, nor is the line actually from corner to corner ; that would have been too formal. But it is sufficiently in a line to lead the eye across the picture. On no account get another mass of equal import¬ ance to the principal one. That should always remain principal, and all others subordinate to it. The point of interest can always be found if the SELECTION OF SUBJECT. BY W. E. TINDALL. PLATE VII (sec page 28 COMPOSING A PICTURE. 29 photographer will hold a little conversation with him¬ self. Let him ask himself, “ What induced me to select this subject ?” Having satisfied himself what part it was, he may be sure that there is the point of interest. All other matter must give way to it, and be made to assist it in every way. In making a picture the photographer should endeavour to grasp the feeling of the effect. In developing and printing he should look out for, and retain, those points which most carry out the original impression. That which induced me to paint the sketch (Plate VII.) was the strong light under the trees, which led so easily to the subordinate light in the distance. All other matter is simply pack¬ ing used to help it. The question of sky is most important. In my case the lines of composition were sufficiently pro¬ nounced in themselves not to require the help of the sky, so I simply put the dark cloud behind the tree to back it up and prevent it being too prominent, but was careful that the lines of the sky should run in the opposite direction to the lines of the picture. If the trees had been less prominent or absent, the balance of line would have to be made with the sky. In that case a well pronounced cloud should take the place of the trees. I gave a brief outline and sketch of the “ pyramid composition” in the second chapter. It is only neces¬ sary to say that this form of composition is more often used in the grouping of figures than in landscape. It takes the form of a pyramid (as its name suggests), the 30 SELECTION OF SUBJECT. apex cutting the sky line, which on no account must be in the centre. An inspection of figure pictures by well known men will show that they are in groups of pyramids, or in one large pyramid—the smaller groups are often contained in the larger. I am assuming that it is understood that the pyramids are not well- defined triangles, but are only suggested. To the “art worker” thirsting for knowledge of this particular composition I would suggest that he should procure a print of a figure subject after a good man, and, taking the more prominent parts of each figure, that he should draw lines so as to form them into pyramids. He will be astonished at the number he can make ; it will prove extremely interesting, as well as an instructive lesson. The horizontal composition is one of the most difficult to manage when accepted in its purity. Hundreds of pictures may be seen constructed on the lines of this composition, only to find on proving them that they contain a large proportion of the perpen¬ dicular, diagonal, and a portion of the pyramid—to make weight as it were. If a seascape is to be taken, introduce a boat mast to break the straight line, that is perpendicular—or a group of fishing smacks, that is pyramidal—or a cliff on one side and a small boat or rock on the other, that is diagonal. John Brett, A.R.A., and the late Henry Moor, R.A., constructed their pictures on the lines of this particular com¬ position with greater purity than most men. In this form of composition, skies play a very COMPOSING A PICTURE. 31 important part. On no account must they repeat the lines in the landscape or sea ; in all cases circular cloud forms are more preferable, darker at one side of the picture than the other, with a few diagonal lines, if possible. The height of the sky or horizon line should not equally divide the picture; it must either be above or below the centre. The one in most general use is below, about two-thirds sky and one-third sea or land¬ scape. If it is wished to keep to the pure horizontal, the line may be broken by unimportant boat sails or small trees. I must confess I prefer horizontal composition with an admixture of various other kinds. It is easier to get size and breadth with admixture, and art work should always be made as easy and simple as possible. The less the struggle the better the quality of the picture will be. The perpendicular composition is used in street scenes or buildings, and must be balanced in the same way as the diagonal, viz., the weight on one side, and lead across the picture. In photographing buildings with chimneys, which are a constant source of worry, coming, as they almost always do, against the sky, endeavours should be made to get the chimneys into groups so that they will back each other up. If they will not group, it is better to leave them out in the foreground buildings, by letting them run out of the top of the picture. Speaking generally, a convex line is more beautiful than a concave, and is one of the lines to be taken into 32 SELECTION OF SUBJECT. consideration when selecting. All lines should ap¬ parently convey the impression that they are required in the composition, and in no case should they run or lead out of the picture. Of course, lines have to run out at some place, but they also run and lead in; if the interest is kept away from the edges, the lines will converge to it. Having selected what is considered the principal interest, select lines that will help it by moving the position of the camera till the lines run as required. There are many subjects that no amount of moving about would make good; in that case it is best to seek something more worthy of one’s skill, or to use a bad subject to illustrate to friends the difficulty of composition. CHAPTER V. BIRCH AND BRACKEN. T3IRCH and bracken are beloved by many photo- graphers, and numerous attempts have been made to make pictures from them—some with doubtful success. Pictures can be, and are, made with birch and bracken at all seasons of the year. The least successful are those made in the summer time, when the trees are in full leaf. This is on account of the leaves being small and all over the tree alike; they are not as oak or elm, the leaves of which will be found to form large masses of light and shade. The result is that with photography birch trees in summer are rendered with more or less flatness, and with a liberal supply of spots, which represent, or are supposed to represent, leaves. These spots rarely do more than give you the impression of mottled soap. Mottled soap in the form of trees, and attached to a beautiful birch stem, may be very funny, but is it a picture ? This result is not altogether the fault of photography, but the fault of the trees themselves. 34 SELECTION OF SUBJECT. I have tried many times to make a picture of such trees in the summer sunlight, and have failed to do so; I have had to wait until evening. If, therefore, the photographer feels that he must do his work on these subjects in the summer, he should wait until evening and expose his plate when the sun is low—either with a full light on the subject, viz., the sun at his back, or with a side light. The brackens in midsummer are not at their best for photography; being of a blue-green colour on the lights, correct tone value under such circumstances is very difficult. In these, again, the evening light is helpful by reducing the blue high lights. It aids also to break up or subdue the too rigid outline which is the characteristic of summer bracken. Another fault to be watched for and avoided at this time of the year is blackness and whiteness ; half¬ tones seem to be conspicuous by their absence with such subjects in summer, and it is therefore necessary to bear this in mind when exposing. To sum up, I may say that in summer birch and bracken require the skill of a master, and will be sure to be a dis¬ appointment to beginners. Taking autumn next, the conditions are much more favourable. Not only will the colour reproduce with greater truth, but there will be more variety both of colour and of form ; the trees will not be so thick and lumpy, but will be more delicate and lacy by showing more of the very beautiful branches which they possess. This class of subject may be photo- BIRCH AND BRACKEN. 35 graphed in autumn with every chance of success in almost any light, with but one exception—to wit, a strong keen light. Both birch and bracken are so delicate and graceful of form that a delicate and soft light alone is in harmony with their own charm, a strong, keen light merely chopping them up and destroying their grace. By this I do not mean that one must never have any effect of sunlight, but when it is present it should be soft and concentrated. Be very careful to keep the trees against the sky soft and airy —suggestive of movement. November and December (if no snow has fallen) are the months that appeal to me as being the best. Being leafless, the charm of form in such subjects is in no way hidden : their colour and tone are perfect: the lighting cannot be other than soft: the brackens are just beginning to fall, thus rendering their form much less severe, and the colour will reproduce with con¬ siderable truth. All things being equal, the photo¬ grapher has a much greater chance of success in these months than in any other. In winter—that is, winter with snow—this work is very charming and very difficult. Snow with bracken peeping out is delightful and presents few difficulties to a painter, but to the photographer these few difficulties are magnified a hundred times. The snow has a disgusting propensity of coming out white on the print, and we know it is not white : the brackens which are a rich brown come out very nearly black in contrast with the snow : the birch trees in an ordinary way are 3 ^ SELECTION OF SUBJECT, silvery and light, yet in contrast with the snow they are almost as black as an oak tree : they seem to lose character and all the delicate laciness they possess. So that in endeavouring to make a picture of birch and bracken under snow, the laws of contrast must especially be taken into consideration. It is a mistake to try to make the snow much lighter in tone than the sky. It will stand being a little lighter, but not much . Spring is almost the same as autumn, with this difference—the bracken which in autumn was graceful and full of form is now nought but a mass of stalks, and difficult to handle. Enough of the seasons. We will come to the selection. Silver birches, as their name implies, are silvery, and should be represented so in the finished picture. Now, white is not silvery, but silver with light on is white—that is, white to the photographer: to a painter it is of a yellow colour. Now, a photo¬ graphic picture that does not give the relative gradations of tone of the birch tree has failed, because the prominent characteristic of the tree is absent, and as the birch, in a birch and bracken picture, occupies a prominent position in its composition, it should receive the attention to which its position entitles it. We will say, therefore, that birch is primary and bracken secondary (with the bracken very little removed from primary). All other matter must be subservient to these and assist them. We will take a leafless birch and make it primary. We will not put it in the centre, because that is bad ' SELECTION OF SUBJECT. BY W. E. TINDALL. PLATE IX. (see page 37-) SELECTION OF SUBJECT. BY W. E. TINDALL. PLATE VIII. (see page 37-) BIRCH AND BRACKEN. 37 composition and cuts the picture in half. Either side will do. As the primary object in the picture, to be successful it ought to be good in form and treatment, and be prominently placed, as in Plate VIII. It must be supported by birches of less importance. There are cases where birches can stand alone, but not often. In most instances it is better for the tree to run out of the picture top, and the position should be so chosen that the branches lead the eye across the picture. The bracken must be in keeping with the birch and be a prominent second. After this the quieter other subject matter can be kept the better. Plate VIII. has no particular effect of light and shade; it is simply quiet. In subjects of this kind an effect of sky is rarely required other than a gradation of tone from top to horizon. It is different, however, in the case of trees when we have fine branches across the sky. Strong effects of cloud have a tendency to break them up too much. The only time when birch and bracken will stand these strong skies is when they are in the open and the whole of the tree tops and a sweep of moorland underneath are included in the picture. Skies are then useful for the purpose of balance. In Plate IX. there is more attempt at sky; I doubt if it is any improvement. In this, which has stronger light and shade (hence the sky), it will be observed that the principal tree stands more detached than it did in the other, and is stronger in light and 38 SELECTION OF SUBJECT. dark. This was necessary in order to attract attention, as it had no other trees with which a group might be formed, but by its own weight and importance had to stand alone. This class of subject adapts itself more readily to upright-shaped pictures. It is not difficult to imagine what the sketches would look like if of horizontal shape. The least interesting part would be long drawn out, with the interest all at one side, or there would be too much interest and too little packing. In the open moorland, with birch and bracken, the oblong shape can be used with greater success. Do not select a subject all birches, or a subject all bracken. Do not have too many birches in one picture; they only confuse and attract attention from the principal. From one to three birches, well grouped, is ample. Let the bracken be well broken and not in lumps. Keep the lines simple, and keep the lighting delicate. CHAPTER VI. ON COAST SCENERY. TN the treatment of subjects of this description, as in all others, selection of effect enters as largely as selection of lines of composition. The horizontal com¬ position is not at all times the best, nor is a fine day a guarantee of success. Taking a fine day, what do we note ? Everything looks charming and bright, suggestive of a sleep on the beach; the temperature is high, the sand soft, the camera heavy, and altogether we feel that a lazy morning is the only thing required to give us perfect contentment. The waves that just lick the beach have no energy—in fact, the sea seems as lazy as we are. This does not look healthy for picture-making. It may do for taking a few snap-shots that do not require much thought, but pictures are the things we have come out to make, and we do not appear to see any. The tide is too high, or too low; the water too rough, or too smooth, or too cold; and we come to the conclusion that we may just as well do nothing, and let that suffice. Under the circumstances, no better decision could be come to. 40 SELECTION OF SUBJECT. But we are going to make pictures of the coast, and I have to say what kind of day would be most suitable. We think for some time, and recall all the pictures of coast that we have seen, and how they were treated, and how their authors would have told us to treat them. After much recollection, we remember that it is the tide fairly well up, a sea not too smooth, and rather a low-toned light in the majority of cases that have proved more successful than the hazy fine day. On such a day as this, let us attempt our first picture. If it is for rough water that we wish, it is not necessary to be there when a storm is blowing; the probability is that the water will be much better the next day, when the storm has abated, for it takes a day’s wind to bring any quantity of water inshore. Cliffs in themselves are somewhat heavy for photography, and are not always a success; better pictures are often made with a simple piece of rock and water ; the only difficulty is arrangement and balance. A too elaborate composition will only confuse. Sky, if the horizon is low, requires consideration, but in this case we are going to have a long, narrow picture with little sky (similar in shape to the pano¬ ramic camera pictures), and to rely for interest upon the water against dark rocks. Plate X. shows a bit of Filey Brigg. As will be seen, it is only a bit. It was not necessary to have the whole of it for pictorial purposes. In fact, the bits are better than the whole. SELECTION OF SUBJECT. BY W. E. TINDALL PLATE X. [see page 40.) SELECTION OF SUBJECT. BY W. E. TINDALL. PLATE XI. (see page 41 •) ON COAST SCENERY. 41 A mistake is often made by trying to get a view. It may be said that this does not represent Filey Brigg, and that it might be any other place. That although it is Filey Brigg it is so small a portion of it that it fails to convey the impression of the real thing. Quite right! It does not necessarily convey the im¬ pression of any given place ; in other words, it is not a view of Filey Brigg. But for pictorial purposes it contains quite enough material, and the object is to make a well-balanced picture, without reference to locality or view. The pictorial feature of the sketch and the point of attraction was the line of broken water running from the left-hand bottom to the right-hand top corner. It was well held up by the weight of rock in the right corner. The broken water near the horizon, too, was valuable, helping, as it did, to lead the eye towards the horizon, and thereby through the picture. The rest of the subject is simply to assist—with the exception of the birds in the sky, which were put in to prevent a blank after leaving the top line of broken water. Of course those birds were not in that position, but they ought to have been, and they should present little difficulty to any photographer. To have taken in more subject matter would only reduce the importance of what we already have, and would therefore have been a hindrance. The most powerful light, as will be observed, is in the most prominent part of the picture. The sky, being secondary, takes a subordinate place. Plate XI. gives an ordinary, every-day, usual 42 SELECTION OF SUBJECT. sunlight coast scene without the customary figure of a fisherman or girl. It is treated in a manner difficult to avoid in such subjects, viz., the commonplace. The piece of rock on the horizon is objectionable ; if it remained it would have to be considerably reduced in strength. A better picture would have resulted had an inch been cut off the right side. At present it is too heavy, and outweighs everything else. The sand also is too light. The lines themselves are not displeasing, and help one to pass through the subject. Pictures of this description require very careful treatment to prevent “ jumpiness.” The headlands, if not kept well in hand, tend to become most aggres¬ sive. As a general thing, it is wise to suppress detail in the cliffs ; the multiplicity of forms they possess keeps one in a constant state of uncertainty as to which point to look at. The second headland in Plate XI. would have been much better had it been flatter. Not only would it have looked larger and more majestic, but it would have taken its place better. To sum up, in photographing coast subjects the less one has of the coast (that is, the cliffs) the better. When making pictures of coast and cliffs, take them on a low-toned, grey day, or with the sun behind them at sunset. This is for the purpose of suppressing detail, and rendering them in large masses. Put as much mystery into them as you know how; recall some of the pictures by the old Dutchmen who painted coast scenes, with smugglers landing their spoil—pictures that were full of mysterious half-lights and shadows ON COAST SCENERY. 43 —and something of the effect that I mean will be realised. In a picture like that on Plate X., give it the sparkle and dash to suggest life in the water, but under no circumstances must the lights be forced, or one will at once get chalkiness. Get a bright mass rather than brilliant little bits. The same applies to blackness. Do not have spotty rocks peeping out all over the picture ; one good mass is all that is necessary, with, perhaps, a less important piece leading from it. There is plenty of scope in subjects of this kind, and they are not difficult to find. CHAPTER VII. TREATMENT AND COMPOSITION OF SEASCAPES. HERE are all sorts and conditions of seascapes— A some good, some indifferent, some bad. Under the latter heading such subjects as smooth sea without shipping, or other interesting subject matter, may be classed. Under the heading “ indifferent ” comes sea with water that is broken up all over and without any definite form, that is, with nothing as a centre of interest. To make pictures of the sea it must have interest, either in the form of ships, figures, or rough, well-defined water. But the ships or figures must be secondary to the sea, otherwise the picture would cease to be a seascape. I reproduce a sketch of smooth water with ships, and one of rougher water. Skies are more necessary in subjects without shipping, in order to fill the blank in the picture after leaving the horizon line. With shipping the sails and masts in most cases are sufficient to fill up the blank. In both there is a tendency to get the picture looking bleached or washed out; the water TREATMENT AND COMPOSITION OF SEASCAPES. 45 reflecting the sky gives a flatness. The introduction of clouds will often obviate this flatness by casting shadows on the water. The photographer will there¬ fore see that to introduce clouds into a seascape much more care is required in observing the shadows cast by them on the sea than would be the case if the clouds were put into a landscape, and it is in the careful selection of clouds that the art of seascape photo¬ graphy lies. It is the knowledge of what kind of sky or cloud is suitable for a given seascape. It may be taken as a general rule that seascapes do not necessarily require strong sky effects. In land¬ scape we may possibly have a group of trees which must have a strong cloud to carry it off; this does not occur in seascape pure and simple. It may occur where the sea is secondary and the shipping primary, but in subjects such as are here reproduced strong sky effects are out of place. The horizontal composition enters largely into seascape pictures. Endeavours should be made to break it in some way (be the break ever so small) by, say, a boat sail or smoke from the funnel of a steamer on the horizon. The waves should not be a series of parallel lines, but should be broken in their forms. Small waves undoubtedly have a nasty propensity of running in parallel lines ; rough water is more broken ; hence it is more pictorial. The horizon in all cases must, as a matter of course, be straight across the picture. From whatever point it is taken, it cannot of course be got to vanish in perspective. The waves in 46 SELECTION OF SUBJECT. the foreground are not so obstinate ; they can be made to vanish in perspective and run diagonally by taking the point of view end on. This itself is often sufficient to break up the monotonous straight lines, as we then get one wave cutting against another. Plate XII. shows a sketch of choppy water, taken from a boat; the horizon, contrary to that in most pic¬ tures, is above the centre. The light wave in the fore¬ ground is balanced by a cloud in the sky. An endeavour was made to make a diagonal line with the boat sails, and to bring them across the picture. Following the line of boats from the horizon you find it runs to the top of the dark wave, and so forms an apparent line across the picture. The smoke from the steamer on the horizon has also its value. The sketch would be im¬ proved by having a stronger effect of light and shade, particularly for the purpose of reproduction. It would also have been better had the white wave been more to the right ; it is rather centred at present. I took several photographs of the sea from the boat and found it almost impossible to get the horizon straight. It is therefore better to take a larger negative than you require, to allow of trimming straight. There are some charming pictures to be made amongst fishing boats, but these do not come within the category of sea¬ scapes. The sketch on Plate XIII. is simple enough to suit the simplest taste. This class of subject can always be got from the shore. This was actually taken from a bathing machine, which is rather a good thing for a SELECTION OF SUBJECT. BY W. E. TINDALL. PLATE XII. (see page 46.) SELECTION OF SUBJECT. BY W. E. TINDALL. PLATE XIII. (see page 46.) / TREATMENT AND COMPOSITION OF SEASCAPES. 47 photographer to use, as he gets more rigidity than a boat gives. It is treated in the horizontal composition, and no attempt was made to use diagonal lines or pyramids. Notice that the lines in the water repeat themselves. If they were not kept in check by having the attraction removed from them they would therefore have been objectionable. The only thing that was attempted was to get a group of boats with sufficient attractive power to overawe or detract from the straight lines. The boats and steam tug with smoke coming from the funnel are valuable, as they are something that attracts away from the horizontal. The suggestion of cloud is also valuable for the same reason. The class of subject on Plate XIII. can only be treated successfully in a quiet manner. Any startling matter or effect would only destroy unity; at present it has a big look with it, and the introduction of any¬ thing in the foreground, such as a coble or figures, I am afraid would dwarf it. Subjects of this nature should never be overcrowded, otherwise you destroy their chief characteristic—space. Neither should they have startling skies. It is difficult to give a feeling of repose with smooth sea, and at the same time to have strong sky effects. The picture must be treated as one piece of work and not as a picture of sky and a picture of water. In introducing skies care should be taken to this end. Treated in a hazy, sympathetic manner, sea¬ scapes are always charming; they are anything but charming if one part is out of sympathy with the other. CHAPTER VIII. CATTLE SUBJECTS. O group cattle in a landscape so that not only ^ do they compose well, but seem to stand on the ground, and in their proper place, is a difficult matter. There must be feeling for perspective in order to place them well as regards standing in the right place for their size. Without a knowledge of perspective there is a danger of getting the picture out of scale—that is, the cattle are either too large or too small. When the cattle are primary (with which this chapter deals) perspective and grouping are more important than when the cattle are secondary. To expose a plate on primary cattle with the camera too near the objects is to dwarf the landscape and give the cattle the appearance that they are simply a study, and not intended to be a picture. Neither should the camera be placed too low down, in which case one gets a similar result; the cattle look giants, and the land¬ scape runs away in perspective. By placing the camera near the ground we only get vertical reduction, and no corresponding reduction of the horizontal. A reasonable medium is to place the camera about the CATTLE SUBJECTS. 49 height of a standing cow in the foreground. The photographer ought to be able to see the head of a cow when looking at it from behind (that is, if its head is not down), and if he does not get this the camera is too low. Groups of cattle should be confined as a mass within the landscape, and on no account should they encroach as a mass upon the sky. I wish to make it clear, though, that this is only the broad principle. The masses must be confined to the landscape, but the details or outlines of a mass may, and should, cut the sky line. This is difficult to explain in words. I will try to illustrate it further on, but the broad principle should be kept in mind. Almost any piece of open country or group of trees is sufficient to make a picture when we have the cattle as primary. A single animal is very rarely enough ; it requires at least two, if not more. A fairly good light is necessary, not only to enable the ex¬ posure to be a short one, but to give the requisite amount of light and shade in order to get proper relief. Cattle that are primary require more light and shade and more modelling when they are the principal objects than would be the case if they were only secondary. When secondary, they are introduced to help a landscape, and should be subordinate to it ; when primary, it is the landscape which is sub¬ ordinate. Sunlight is preferable to a grey day. Sunlight gives shadows on the ground, which give greater 50 SELECTION OF SUBJECT. importance to the grouping, and attach the animals to the ground better. A grey day, on the other hand, although excellent for some classes of work, gives a flatness to the animals and ground without increasing the harmony as a whole. In a previous chapter I pointed out the importance of skies in an open land¬ scape ; the same remarks apply also to the subjects with which this chapter deals. Having cleared the ground somewhat, we will deal with a particular subject. Plate XIV. is a sketch of a rough pasture, which appealed to me (when on the usual tramp, subject hunting) as being suitable for the intro¬ duction of a group of cattle. The sky was full of form, and the rise of the ground on the right gave balance to the distant bushes on the left. Therefore, the group of cattle should come between those two points. The lighting was all that could be desired, and the lines simple enough for anything. The view in itself is not a subject, nor is it sufficiently a subject for the intro¬ duction of anything of a secondary character. It is simply a rough sketch which will illustrate what I previously stated—that almost any piece of country will do, providing the lines are simple. The reader will readily understand that a land¬ scape with complicated lines and many forms in it is not suitable for cattle subjects ; with primary cattle the landscape must give way, otherwise the interest would be divided, and the picture would not be successful. Plate XV. shows the same subject with the cattle complete. I wish the grouping to be especially noticed. SELECTION OF SUBJECT. BY W. E. TINDALL. PLATE XIV. (see page 50.) SELECTION OF SUBJECT. BY W. E. TINDALL. PLATE XV. (see page 50.) CATTLE SUBJECTS. 51 I have endeavoured to centre the interest on the cattle. At one time I had the standing cow facing slightly out to the right, which divided the interest, and gave too many lights, as one saw the side with the light on it. The main mass or group of cattle are confined to the landscape; the head of the dark animal, also of the standing one, are valuable, insomuch that they cut the sky line without encroaching very much upon the sky. The shadow on the foreground cast by the cows, it will be noticed, is an additional help to break up the same¬ ness, and assists the eye to pass from them. Par¬ ticular care was taken to keep the mass from being central, and yet to keep it from the side. The dark cow is to all intents in the centre, but the other two are distinctly at the side, so that the mass is not central, nor is it at the side. Now, there are three cows in this group ; could another be introduced, and yet keep it concentrated and simple ? I doubt it. It could not have been placed nearer or in front of the present group ; to do so would be to dwarf them, and the front cow would be very large, from being too near the camera. It could not have been placed between the dark and the stand¬ ing cow, as the opening there is interesting. Let my reader just try the experiment of closing up that space with a piece of dark paper, and he will see what a heavy mass the group appears. Could it have been placed at the back of the standing cow ? Very, very doubtful, because it would have hid the slight rise in the field, which is of much more value than it at first 52 SELECTION OF SUBJECT. sight appears; it brings the eye down to the group, and helps to confine the sight to the principal objects. Another question which suggests itself is, could there have been one cow omitted, and yet have left an interesting group ? We will analyse it and see. Supposing the standing cow was left out, are the other two sufficient ? No, because there are not weight and substance enough without it, nor is there sufficient variety of position. Nor would the sky line be well broken without it. The white cow could not be left out, because its colour and position help the other two. The dark one could not be spared, because it backs up and gives value to the white one. Fancy what the white one would look like contrasted only against the grass. It would be very weak, and as the nearest animal it must be strong—hence the dark cow. After careful consideration, I doubt if the group as it stands could be added to or could have anything taken from it without injury to the composition. I do not wish it to be understood that only three cows can make a group. Two or four might have made an equally good group had they been differently arranged. For instance, if the dark one had been nearer the standing one, we might then have dispensed with the white one. Much interest and instruction may be obtained by placing pieces of grey paper over each cow in turn, and looking at the result to find out the best arrangement. Subjects of this nature, like figures, are always creative. Art is only art when it is creative, and to CATTLE SUBJECTS. 53 be a creator the artist must be self-reliant, but at the same time must study well what others have done before him. Mr. Ruskin writes in “ Modern Painters”: “ Every great man is always being helped by every¬ body, for his gift is to get good out of all things and all persons.” CHAPTER IX. ON THE INTRODUCTION OF FIGURES. T^IGURES in landscape either make or mar it— ^ more often mar it. There is a certain dignity in nature without figures, yet they are often very useful for the purpose of composition. For instance, we may have a subject with the interest too much to one side, in which case figures are useful to draw the attention more to the centre, because a strong interest with a lesser one in opposition becomes less strong than it would be by itself. When used for this purpose they should never be too prominent, or they will detract from rather than add to the picture by dividing the interest, and thereby destroying the feeling that it is one piece of work. In the present chapter we are considering figures introduced to help a picture, be it landscape or sea; care should then be taken to make them subser¬ vient to the subject. For the proper introduction of figures it is necessary that they should be well posed. They should not be scattered all over the surface of the print, but must be grouped. Groups of two, three, or ON THE INTRODUCTION OF FIGURES. 55 four figures must be arranged in such a manner that there is no repetition of position. It is extremely difficult to pose a group of figures without showing the posing. A study of some of the present-day pictures will be of assistance in pointing out a way to overcome those difficulties. Notice how little attention they attract in themselves. They are made a part of the picture, and appear to be wanted. If a single figure is to be employed, it should be placed in such a position that it will assist in drawing the attention to the principal motive rather than draw¬ ing attention to itself. Further, it should not be too large, or it will make the landscape look small. In most cases the figures should not be placed nearer to the camera than twenty feet. The camera should be about the height of the figures’ breasts. If it is placed too high, the head is disproportionately large ; if too low, disproportionately small. It is best to choose a rustic figure for landscape. Fashionably dressed figures are very ugly, and quite out of place. Children and old people nearly always look and harmonise well with landscape, and not much difficulty is experienced in inducing them to sit. Figures become a necessity in street or village subjects, but should be chosen with due regard to their surroundings. A subject with a ploughed field in it is a suitable place for a man ploughing, harrowing, or twitch burning. A moorland road may have either a man or woman coming towards the camera, such as a ploughman returning home with his coat over his 56 SELECTION OF SUBJECT. shoulder, or with a basket or anything in his hand, in order to break up the severe outline. A woman may be returning from market, or faggot carrying. The more the outline can be broken up by something about the figure the better. Groups of two or more children gathering flowers or blackberries are very useful in country lanes, or other places where such things grow. A gamekeeper makes a good figure in woodland or moorland subjects, where there is no evidence of many foot passengers ; but a gamekeeper would be out of place in a subject (moorland or otherwise) whose fore¬ ground is worn by many picnic parties. In a place such as that there would be little game to keep. An angler with his basket on his back is suitable for a trout stream. There is no need to do as was done by a friend of mine, who put an angler in a midsummer picture, when the stream was practically dry, and whose only remark when it was pointed out to him was that “ the angler should not have been such a duffer as to have gone there.” All these examples are given to emphasise the vital importance of the suitability of the figures to their surroundings. If they are only used to assist com¬ position they must still be in keeping with the subject. Figures in a picture should not be the chief point of attraction to the spectator; neither should they be very far from some point of interest; that is, they should not be near the edges. Plate XVI. shows a subject of an isolated birch, which in itself called for more attention than was good for it, and had a tendency to SELECTION OF SUBJECT. BY W. E. TINDALL PLATE XVI. (see page 56 .) SELECTION OF SUBJECT. BY W. E. TINDALL PLATE XVII. (see page 57 .) ON THE INTRODUCTION OF FIGURES. 57 prevent one from passing into the picture, and getting the full benefit of what was beyond. In this case the introduction of a figure of a woman returning from stick-gathering and being in opposition to the birch, helps the eye to pass from the birch to the figure, and so to get more of the picture in sight. As it travels from the figure behind the trees we gradually get the whole scene. If the figure is covered over, its im¬ portance is at once made manifest. It will be observed that it comes against a dark background, and the fact that it is in a light dress gives it the required prominence as being second to the birch. In Plate XVII. the birch is not so strong, so that the counter attraction does not need to be so powerful. The object of the figures was to get space behind the birch. In this case a standing figure of an upgrown person would have completely blocked up the centre of the picture (providing, of course, it had been placed where the children are). It would be rather a task to place it elsewhere. As it is, one can see over the children and into the picture. The bit of light on the child partly behind the birch is of assistance in helping to make the background recede. CHAPTER X. PORTRAITS. TIC THEN we take a friend’s photograph he very ’ * often ceases to be a friend. We are able to avoid that calamity, however, by the exercise of a little knowledge of the proper pose and lighting for each sitter. It will be readily understood that almost every sitter requires different treatment, both of lighting and of posing. To treat all sitters in a similar manner must result in failure, because each has some par¬ ticular character which requires either bringing out or keeping subordinate. Of course it may be contended that a photograph of any person must be correct. It may, and probably is, in outline, but there is something more than outline in a portrait. There is the man or woman and the expression, in addition to the simple drawing. Each one has some pose more suitable than any other to his particular style of face. All people have a best pose, and it is the duty of the portrait photo¬ grapher to find that out. We are told that a photograph cannot lie. Perhaps not, with respect to outline, but in tone value it is very often far from PORTRAITS. 59 the truth. It is in this respect that the great value of suitable lighting lies. It is possible to render tone values with consider¬ able truth when one is in possession of knowledge of the actinic values of the different colours. These values were dealt with in Chapter III. Let us suppose, now, that the photographer wishes to take a friend and his wife, let us say. The man may have plenty of colour and his wife may be pale. If these two are taken on one plate and with the same form of lighting, they will be out of tone. If we give the lady the benefit of the light side of the picture, the effect will be made worse. In a case of this description a good deal can be done to assist tone value by having the strongly coloured person in the stronger light and the pale one (by judicious screening of light) in half-tone. By this means the exposure would be more correct on each figure. Perhaps we may wish to photograph them on separate plates. In this case the same principle applies. A fair sitter should never be taken in a strong light. The results of doing so are those bleached, washed-out looking portraits one often sees. In addition to this, a strong light gives nasty black shadows, which force out the modelling in an unpleasant manner. The question of background enters largely into the success of portraits. The fair sitter should have a lighter background than the dark sitter, to reduce the cut-out appearance. For successful portraits it is often necessary to 6o SELECTION OF SUBJECT. have reflectors for the shadow side of the face, or they will be black and unpleasant. A reflector on the floor will reduce the dark shadows under the chin and nose. A sheet of white paper or cardboard makes a good reflector, and there is no difficulty to the ingenious photographer in arranging it at the proper angle. The posing must be arranged to suit the different types of face. For instance, a very stout person would not look his or her best in profile, nor is a full view very good in such cases. I think the best way out of the difficulty with stout people is to have them sitting, and leave as much of them out of the picture as possible, having the face about seven-eighths full. A person with a hooked nose is better full face, as it destroys the outline of the nose, but it is no less a portrait. Fair people are very difficult to take looking at the camera, as it is almost impossible to give the relative strength to the eyes. All photographers know dark people are their best friends in a photographic sense, as the results are more satisfactory. This is simply because there is better definition, and usually more character in the face. The hands are often a difficult problem to master. If they must be in the picture, make it a principle to keep them as far away from the camera as conveniently may be. A painter has an advantage over the photo¬ grapher in this respect, insomuch as he generally makes the hands smaller than the camera would give them if placed in a prominent position. Those workers who do not possess a studio I should advise SELECTION OF SUBJECT. BY W. E. TINDALL. PLATE XVIII. (see page 61) PORTRAITS. 6l to take their portraits in the open air, as the light (out of the sun) is more diffused, and does not give such black shadows as a concentrated light of an ordinary room. By the use of a background and the open air, a studio effect can always be obtained. Do not place the sitter too near the background ; five feet is quite near enough in most cases. Whilst the first object of the portrait photographer is to obtain a likeness, there are others of almost equal importance, viz., making them into pictures. The fact that they are pictures does not in any way destroy the likeness, but adds greatly to their charm. In the portrait of a child on Plate XVIII., which was taken in an artist’s travelling van, the child possessed more colour than any other person I have seen, besides being sunburnt a rich brown. The dress was violet, background blue and gold, the flowers clematis. Under these circumstances the best result, so far as tone value was concerned, was not to be expected, yet by a lot of controlling of the light (which was a top one) the tone values were rendered particularly true. To commence with, we got all the light possible (filtered through muslin) on the face. Our next point was to lower the light on other objects, and to bring them into tone with the face. By the use of sheets from the sleeping berths, we reduced the background, dress, and flowers in gradation, so that the appearance given was that of an ordinary child in a low light. I should like here to say a word about the pose. The difficulty of making a picture of a child two years 62 SELECTION OF SUBJECT. old most photographers will admit. Our difficulty with the pose was to get rid of some of the outline and of the feet, and at the same time to try and make a picture of it suitable for painting. The feet were twisted round till one of them was outside the picture ; the other was tucked under, so that it was not obtrusive. The flowers got over the difficulty of outline, whilst the brass tray on the wall filled up what was otherwise a blank space. The light on the said tray is too strong; in the painting done from this photograph it was much reduced. It will be observed that it is by no means a sharp negative. This absence of definition allows it to melt together better, and softens the edges of any shadows that were there. There was no room to place the child away from the background, so she was placed close to it. On Plate XIX. is the portrait of a medical man in his study. In this picture the hands are prominent, but the artist has used the liberty accorded him by keeping them well within compass. An endeavour has been made to treat the portrait pictorially, and to invest it with something in keeping with the man. He has therefore been painted evidently being consulted by some patient, and is asking the usual questions before making out the prescription. The background is well broken up without interference with the picture. Plate XX. shows a master of foxhounds. It is characteristic of the type of man one would expect to be a M.F.H. It is much more severe in pose than the other, but the character of the man is better SELECTION OF SUBJECT. BY W. E. TINDALL. PLATE XIX. (see page 62.) SELECTION OF SUBJECT. BY W. E. TINDALL. PLATE XX. sec page 62.) # I 9 I PORTRAITS. 63 represented by the severe pose. Most of the interest is centred on the face. Here again, the background is broken by panels. Legs are always unpleasant and awkward to manage. In the two portraits reproduced they have been left out, with success to the picture. The sug¬ gestion is there in each case, which is all that is required. Of course, successful portraits sometimes have legs and feet, but they are rather uninteresting, if useful, and in nine portraits out of ten they are left out, and the picture is all the better. CHAPTER XI. SINGLE FIGURES AND OBJECTS. TN this chapter, my design will be to use a single -*■ figure to point out the great difference its appear¬ ance assumes, according to the position in which the camera may be placed. It is unwise in most cases to place the figure nearer to the camera than about fifteen feet; if this is not observed the perspective will be found to be too acute, causing distortion or throwing the figure altogether out of scale with the picture. It will appear to be far too large for its position. It will be remembered that I pointed out how, when one looks at a landscape or other scene, the eye (and also the camera) reduces much more in vertical perspective than it does in horizontal perspective. This means that any object which is receding from the eye has more acute perspective than any object which lies across the picture. It is, therefore, of little im¬ portance how much we move the figure from right to left, or left to right, so long as a reasonable space is allowed between the figure and camera. For instance, if we stand in the centre of a straight stretch of railway, SINGLE FIGURES AND OBJECTS. 65 we find that the lines will meet on the horizon line (which to an ordinary person would be about five feet high), but if we sit down instead of standing up they will meet much sooner up the picture plane. This is because the whole mass is reduced in vertical per¬ spective ; and whilst the horizon line would be half¬ way up the picture when in a standing position, it would be only about a third way up the picture when in a sitting position. Now, if we take a position looking across the rails, say ten feet from them, we find that they seldom meet either to the right or left, and that either sitting or standing makes very little difference to the amount of rail we can see on either side of us. Thus it is shown that it is only vertical perspective which is influenced by the height at which we place the camera. In photographing a single object against a back¬ ground, be it landscape or any other, it is of the greatest importance that the height of the camera should be in keeping with the subject; so also should the distance of the object from the camera be in keeping. The truth of this is shown by holding a pencil near the eye, when it will almost blot out the entire picture, whilst if held at arm’s length, a distance of only two or three feet, it does not interfere with the view of the picture to any noticeable extent. In order to exemplify the difference the height of the camera makes, I have made a couple of sketches from photographs (figs. 6 and 7), each of them taken with the camera fifteen feet from the sitter. Fig. 6 66 SELECTION OF SUBJECT. was taken with the camera five feet from the floor, or about the height of the sitter’s head, and fig. 7 was taken with the camera two feet from the ground. It will be noticed how much taller fig. 7 looks than fig. 6 ; the whole figure appears to be pulled out; more of the Fig. 6. feet is seen, which helps to give the appearance of height. In each of the photographs the sitter was thirty feet from the wall; in fig. 6 the figure appears to be quite that distance away, whilst in fig. 7 that SINGLE FIGURES AND OBJECTS. 67 distance is by no means represented. The vertical reduction is proportionate throughout; the line of the floor in the first picture comes nearly to the elbow, whilst in the second figure it is almost at the bottom of the dress. The bar placed across in the first sketch is level with the shoulders ; in the second it is level with the hands. The top bar, it will be observed, is removed in the same proportion. The distance of the first bar from the floor in fig. 6 is smaller than in fig. 7, 68 SELECTION OF SUBJECT. simply because the space is reduced by having the camera placed above it. The line of fixtures on the right runs at quite a different angle in each picture ; in looking down on them they run up, in looking up to them they run down. All lines will meet the level of the eye at the vanishing point; it does not matter how high or how low the eye may be, lines always meet the eye on the level of the eye. Of course I refer only to all those lines that recede from the eye, and not lines that are running across the picture. It will therefore readily be understood that if there is such a marked difference in the lines of two photographs taken at a distance of fifteen feet, as is shown in figs. 6 and 7, how much more marked the difference in line would be had the figure been taken at a distance of only ten feet; whilst, on the other hand, these differences would have been much less marked had the distance been twenty-five or thirty feet. Another example of the distortion caused by mis¬ placing figures is given in fig. 8, which is copied from a photograph taken with the object of showing the proper distance and the wrong distance on one plate. The figure in the foreground was not the giant he appeared to be in the picture, but was only a youth, and very little taller than the girl in the water. It is very much out of scale by being too near the camera. This figure makes the boats in the horizon look like toys, which gives a false impression to the spectator. The girl and child were placed twenty-five feet away, SINGLE FIGURES AND OBJECTS. 69 ' Fig. 8. and were quite near enough for any figures to be placed in a picture of this description. It is not desirable to have the sky or landscape with much white in it when it is intended to be the background of figures ; a light background helps to destroy roundness, and gives the figure a cut-out look that is anything but pleasing. With respect to such objects as trees, rocks, boats, etc., the remarks just made similarly apply. They should be regulated in size to suit the background of each. Nothing is more ugly than the presence of a tree or a stone in a landscape which overtops and drowns everything else. It is more difficult to get proper spacing when the several objects which make up a picture are disconnected and disproportionate in size. With all single objects for picture-making purposes 70 SELECTION OF SUBJECT. great care should be taken to have uniformity of scale. With a lens there is always a liability to get violent perspective, which exaggerates the size of foreground matter, since even other than “ wide-angle ” lenses take in a wider view than that usually painted or seen. In this way many photographic pictures appear to be thrown out of scale. CHAPTER XII. FIGURE GROUPS. T N the previous chapter the importance of the camera being at the proper height was pointed out. This must also be taken into consideration when groups of figures form the subject. It is obvious that what would be the necessary height for a standing figure would not be the correct height for a sitting figure. In a group of figures, as with a single figure, the principle is the same, with some very slight exceptions. In a single figure the object is more often that of por¬ traiture than otherwise ; whilst a group of figures may be used for the purpose of giving interest or balance to a particular place in a picture, as may often indeed be the case with the single figure. In any event, for whatever purpose the group is used, it is necessary that it shall be so arranged as not to appear ungainly or disconnected. A form of composition much used for figure group¬ ing is that knowm as the “ pyramid.” This means that the group shall take the form of a pyramid, not necessarily an equilateral triangle, or one of any particular angles, but that there shall not be unequal 72 SELECTION OF SUBJECT. heights of figures (first a tall one, then a short one, and so on), nor that they shall be placed all in a row. Such grouping would be harsh and ungainly, whilst figures properly grouped (even with tall and short people) need not look so. Fig. 9 is a reasonably well composed group, on the pyramid principle, and was composed of both short and tall people. The one in knickerbockers is the tallest, yet by judicious arrangement he takes his place in the group without being obtrusive. This was a portrait group, so it was necessary to show all the heads. As it was not necessary to have a portrait of the clothing, each figure was made to overlap the other, to get Fig. 9 . FIGURE GROUPS. 73 concentration, the lighter-toned figures being in the centre to give importance. It will be observed that the apex of the pyramid is to the left of the whole; it is very seldom wise to have the pyramid in a central position. The legs and feet of subjects always cause trouble, and in this case they were no exception to the general rule. The best thing to do was to use the legs of the outside figures to assist in the composition, by bringing down the sides of the angle. At the same time, it would not have been good composition to have had both sides equal. The figure on the left drew his feet back till they were level with his knees, and thereby helped to form the base of the pyramid, whilst the figure on the right had his feet hid by bracken. To have left them in the picture (being so near the camera) would have been unpleasant. The two centre figures made as little as possible of their legs. In groups the colour of the clothing is very important, and considerable attention must be paid to it when arranging a group. To have light coats or dresses spotted about the pictures gives them a jumpy and inharmonious appearance. Where the clothing of the people to be grouped is of a mixed description it is better to put the lightest figures in the centre, and gradually to work from the middle on each side with clothes the next tone darker, and so on till we come to the sides of black or darkest clothes. This was the principle used in grouping fig. 9. Of course it is quite possible to use the opposite method, by placing the dark figures in the centre and the light ones at the 74 SELECTION OF SUBJECT. sides, but this method makes two light spots on the picture. This is not altogether desirable, drawing, as it does, too much attention to the sides ; so that for general practice the light centre will be found most useful. In using the pyramidal form for figure grouping, it must be understood that to keep all the figures of the group within the rigid lines of a pyramid would be to give the picture the same hard outline as the pyramid itself. It is only the general form of the pyramid that is required. The extent to which a worker can break through the lines must be a matter which must be left to his own taste and experience. There is one (the base line) which must never be left rigid and straight. Neither should both sides be equal in angle. In fig. g the angle at the left of the base of the pyramid is much more acute than that on the right, and the base well broken up. The background for figure groups is very much a matter for individual taste, although there are one or two things which the photographer must guard against when selecting it. If he wish an outdoor background he must not select a wood with a lot of tree trunks apparently growing out of the heads of his sitters. They should not be posed on the seashore, with the horizon cutting all their heads off. It is much better to select a bankside without much form, and without the sky coming into the picture behind the figures. If possible, he should endeavour to have a background in sympathy with the subject, for if this is so it cannot be a bad background. FIGURE GROUPS. 75 For the purpose of showing the errors of composi¬ tion, I reproduce another sketch of a group. This group (fig. io) was actually posed as shown, and con¬ siderable trouble was taken to place the sitters in the position represented. It was not taken as a portrait group (for the fishergirls represented were unknown to the photographer), but was meant to stand as a Fig. 10. pictorial grouping, irrespective of portraiture. It was, therefore, not necessary to have all the heads in full view, and the worker in consequence ought to have had a better chance of making a pictorial group. Yet with this advantage, what is the result ? An extremely ugly arrangement, formal and monotonous—three girls to the left, with right arm akimbo, three girls to the right, with right hand on shoulder, two figures on left with arms folded, two men in the background thrown in. 76 SELECTION OF SUBJECT. When I repeat that these figures were placed in this position with the intention of making a pictorial group, the importance of a proper knowledge of grouping is emphasised. The material for a good picture may have been present, but the knowledge to utilise it was conspicuously absent. CHAPTER XIII. CONCLUSION. HE necessity with each subject for a suitable -*■ lighting must be taken as meaning that one particular lighting is not suitable for all subjects, but that each must be taken in the light which is most suitable to it. There is only one way to find out the best and most effective lighting for any subject, and that is to see it under several effects. If need be, expose a plate upon each effect of lighting, and then compare them. It is not enough for the lines and masses to look pleasant if the lighting is scattered over the whole of the picture. No painter would attempt to paint an important picture without making two or three sketches of the different effects of lighting. Clouds are of immense assistance in breaking up large spaces of sky, and should receive that attention which their importance demands. Mere prettiness is of no account in picture-making, although pretty objects in a picture may not be out of place. Prettiness must give way to general composi¬ tion. However pretty an object may be, if its presence in the picture interfere with the general composition 7 $ SELECTION OF SUBJECT. it should be left out by moving the camera round till it is outside the picture. The point of view from which to expose a plate is of vital importance. The difficulty with some photo¬ graphers is to know when the subject is in its proper place on the plate. A good method of gaining experience of this is to take more of the subject on the plate than is necessary. The print may afterwards be trimmed down, leaving only that which composes best. By this means experience will soon be gained of what is best and of what is really the picture-making matter in a subject. Then the photographer with this experience can expose his plate upon that subject which his experience tells him will yield the most satisfactory result. Tone value is the most elusive, subtle, and difficult study which the photographer has to undertake. I can only say, in addition to what I have written in Chapter III., that a true perception of tone value is given to very few. The best way to cultivate that perception is by the study of nature —not in individual bits, but as one whole. With a proper knowledge of tone value of the subject he is trying to reproduce, the photographer will get more correct values in his print than the worker without that knowledge. He must endeavour to train his eye to see the subtle difference of tone, to become accustomed to see and to appre¬ ciate such differences. There is no need to go into the country to study in this way. The student can do it as he walks about CONCLUSION. 79 the street, or in his own room. Let him form the habit of weighing up one object against another, of seeing which is the lightest or darkest. Having formed this habit, he will find himself unconsciously noting the different values of the ordinary everyday things he sees, and gaining, unconsciously almost, knowledge that will be of the greatest assistance to him as a photographic worker. In the lines of a composition the most important thing to look for is simplicity. With that ever in his mind, the photographer has a far better chance of success than one who is merely trying to give a representation, with a confused mass of intricate lines giving a sense of unrest. Simple, graceful lines convey a greater sense of the size and weight of natural objects, particularly when we take into consideration that photography often records nature upon the tiny surface of a quarter-plate. What may look right enough in nature may appear as a congested mass of unintelligent forms after it has been subjected to this reduction ; so that although we may think we have erred on the side of simplicity when the negative was exposed, it may look anything but so simple in the print. The sketches in Chapter V. should go to prove this lesson. The lines are very few and very simple. The majority of birch and bracken pictures by photo¬ graphy suffer greatly by having too many birches all over the print. Some photographic workers think that if one birch tree is beautiful, two birches must be more 8o SELECTION OF SUBJECT. beautiful, and so on, till they get the picture full of them, with the result that simplicity is altogether lost. It must be admitted that birch trees have a rooted objection to grow singly—like birds of a feather, they flock together—but this feature of the birch does not alter the fact that a large number of them in one photograph are not usually pictorial. Birches grow in colonies, and the photographer must select his subject from the aristocracy living in the suburbs of the colony, and not from its crowded slums, if he aims at pictorial treatment. It is the bits, and not the whole, which are often the most pictorial. In coast scenes, for instance, the bits of rock and water more often make pictures than an extensive view of the entire coast. The chief things to avoid, then, are the small bits which are included in the bigger bit. Some broken water with a few bold rocks will be found to be valuable material for picture-making. Seascapes without rocks require interest other than sea, such as clouds or shipping. Or this interest may be obtained by rough water. When rough water is used, it is better to have some of the waves breaking, because rolling waves have a tendency to run in parallel lines. Like the calm sea, an ordinary plain landscape to make a picture must be broken up. This can be done with cattle, and for cattle subjects extremely simple landscapes are the best. If we have a landscape with many lines in it and then introduce cattle into it, we find that the multiplicity of lines in the landscape and CONCLUSION. 8l cattle are a worry. We are in some doubt if it is a cattle picture or a landscape picture. Remember that there are landscape pictures with cattle and cattle pictures with landscape. In the two classes the cattle must be different in size, in the importance of the position in which they are placed, and in strength of light and shade. The same principle applies to figures when they are introduced into a landscape. They should be subordinate to it, unless the landscape is introduced as a background to the figures, in which case it is the landscape which must play the sub¬ ordinate part. One or other must be subordinate. I assume that no photographer would introduce figures into his landscape simply for the purpose of having figures. They must only be put there with the definite purpose of serving the composition by counter attrac¬ tion, or by giving weight and importance to some particular place. In portraiture, of course, the figures are of primary, and the background of secondary, interest. Portraiture is on quite a different basis from figure work, because the securing of a likeness becomes of the first importance. In figure pictures the grace of pose and of composition, irrespective of likeness, is the chief feature. The position of the camera for portraits or figures must have considerable thought, or a very real distortion is liable to occur. A figure is made tall or short, large or small, according to the distance and height of the camera. A sitting figure should be 82 SELECTION OF SUBJECT. treated differently from a standing one. The same rules apply to figure groups. In a portrait group the first consideration must be a likeness of each sitter in the group. This very rarely prevents the posing of the figures in accordance with the laws of composition. In figure groups, as with single figures, when the matter of a portrait does not enter, it is a question of graceful lines and good composition. Finally, I should like to touch the fringe of a most interesting, although difficult, subject. I mean individuality or personality. It is quite impossible for me to enter fully into the question. It would require a book to itself. At some future time, perhaps, I may have the pleasure of going fully into this matter, but for the present I must limit myself to a few words. Mr. Ruskin, in his “ Modern Painters,” says : “ He who has learnt what is commonly considered the whole art of painting, that is, the art of representing any natural object faithfully, he has as yet only learnt the language by which his thoughts are to be expressed.” This is very comprehensive. Mr. Ruskin no doubt means that in a mere imitation of nature we gain no more from it than we gain from the observation of nature itself. Supposing, then, that all men could represent any natural object faithfully, the result would be that all pictures would be very much alike. But the difficulty of representing any natural object faith¬ fully is that there are scarcely two people who see alike. While one could make a picture out of a given subject, another might find nothing pictorial about it. CONCLUSION. 83 Herein lies personality. We all possess it more or less, and the training of the art-student should be to develop it as much as possible. Let him see for himself, with his own eyes; and what his eyes, assisted by a cultivated mind, show him, let him portray without restraint. You are sure to get something interesting in your work if you give it some part of yourself. Such individuality can never be brought about by copying somebody else’s methods. By all means let us find out how others would do it, but then do what we have to do by our own method, and directed by our own judgment and skill. INDEX PAGE Art, Creative. 52 Autumn, and birch and bracken subjects 34 Backgrounds for figure groups . 74 Backgrounds and portraits.. 59 Bathing machines, as a standpoint . 46 Birch . 33 Birch and bracken. 79 Bracken. 33 Camera, The height of the . 64 Camera, nearness to sitters. 64 Cattle . 48 Child’s portrait. 61 Cliffs . 40 Clothing, Importance of the colour of... 73 Clouds, and birch and bracken subjects 37 Clouds, The influence of.. 10 Clouds, The usefulness of . 77 Clouds in coast pictures . 41 Clouds in seascapes.45, 47 Coast scenery ... 39 Colours, Primary and secondary . 19 Colour, its relation to tone value. 18 Colour values and ordinary plates . 19 Complexions, Dark and fair . 60 Composition, its literal meaning . 27 Composition, Diagonal . 15, 28 Composition, Horizontal. 30 Composition, Perpendicular . 31 Composition, Pyramidal . 16, 29 Composition, Pyramidal and figure groups. 71 Convex and concave lines, Relative beauty of . 31 Creative art . 52 Detail, a cause of disappointment. 14 Detail must be kept subordinate . 25 Diagonal composition . 15, 28 Distant views, Unsuitability of. 12 Distortion caused by misplaced figures 68 Dutch painters. 42 Figures in coast scenery ... Figure groups . Figures in landscape. Figures, single and objects Figures, The size of . Filey Brigg . Foregrounds. 42 7i 54 64 68 40 12 Groups of cattle 49 Hands in portraiture. 60 Height of the camera. 64 Height of standing and sitting figures... 71 Horizontal composition. 30 Horizontal composition and seascapes 45 Landscape and cattle. 49 Landscape, Figures in . 54 Lighting for cattle pictures. 49 Lighting in landscape . 10 PAGE Lines to look for in composing a picture. 27 Lines, The relative beauty of convex and concave. 31 Master of foxhounds, Portrait of. 62 Medical man, Portrait of. 62 Moorland pictures. 55 Ordinary plates and colour values . 19 Orthochromatic plates and colour values .;.Plate vi. Perpendicular composition. 31 Personality. 82 Perspective . 13 Plates, Orthochromatic and ordinary, compared....Plate vi. Point of view .. 13,78 Portraits. 58 Portraiture, figures primary and secondary . 81 Pose, The best . 58 Preface . 5 Prettiness . 77 Pyramidal composition . 16, 29 Pyramidal composition and figure groups.... 71 Ruskin, in “ Modern Painters ”. 82 Rustic figures . 55 Seascapes . 44 Seascapes and horizontal composition... 30 Seasons, Influence of, on birch and bracken pictures. 33 Simplicity. 14, 79 Single figures and objects .. 64 Skies and composition. 29 Skies in coast pictures . 41 Skies in seascapes . 45, 47 Smooth water . 44 Spectrum plate and colour values ...Plate vi. Spring, and birch and bracken subjects 36 Steamers and smoke.. 46 Street scenes. 55 Studio, Portraiture without a. 60 Suiting figures and landscape. 55 Summer, and birch and bracken subjects 34 Sunlight and cattle pictures . 49 Sunshine and landscape . 10 Tone value. 78 Tone value, Colour, its relation to . 18 Trees, scattered, To group. 28 Types of faces . 60 Upright pictures. 38 Vanishing point . 68 Village subjects . 55 Waves, The treatment of. 45 Weather for coast pictures. 39 Wide angle lenses . 68 Winter, and birch and bracken subjects 35