CHAPTER III.

OUT-DOOR AND IN-DOOR WORK.

It is presumed the student has thoroughly mastered and applied all that has preceded this chapter, especially the matter of tone, otherwise it is no use attempting to make pictures, which means attempting composition.

Presuming then the student is master of the subject as already treated, we will now proceed to offer some suggestions on picture-making, but be it distinctly understood they are only suggestions.

We shall divide the subject into two sections, beginning with out-door work.

OUT-DOOR PORTRAITURE.

[Sidenote: Out-door portraiture.]

Very fine portraits and groups can be taken out of doors. In taking such pictures, it is admissible to dictate the dress of the model, and to arrange tea-parties, sporting, athletic, and other groups. But if the student intends to make them artistic, he must be very particular with his _types_, and see above all things that the sentiment is true. For example, it is a fine parody on nature to photograph a gaunt and self-conscious girl in æsthetic clothing, for dress it cannot be called, with a tennis-bat in her hand. For a tennis picture, fine girls, physically well-formed, should be chosen.

[Sidenote: Background.]

Next the student should choose a simple background, which with the dress and flesh tints form a harmony or fine study in tone. The model’s dress should be very simple and well-fitting, such dresses as were worn by Botticelli’s women (dresses quite unlike the modern æsthetic gowns), being very artistic for women, while flannel shirts or simple white trousers will look well on the men. All monstrosities and exaggerations of fashion should be avoided, such as flowers, chatelaines, wasp-waists, high heels, and dress improvers. [Sidenote: Materials for dresses.] The best material for dresses for pictures is a coarse, limp, self-coloured muslin (butter-cloth is excellent for the purpose). [Sidenote: Jewellery.] All jewellery should be eschewed, the only decoration of this kind that photographs simply and well is perhaps a string of pearls, which looks charming.

The work must be true in sentiment, and the student must choose an appropriate treatment of the subject. The portrait being out of doors, we must be made _to feel_ that fact; thus, a girl resting from tennis, a girl in a riding-habit, or better still on horseback, would be very appropriate. The background must be carefully selected to be in keeping with the figure, and to help to tell the story fully and emphatically, and yet it must be kept subdued.

[Sidenote: Groups.]

Groups are very difficult to treat artistically, and our never-failing rule is to limit as much as possible the number of people in the group. [Sidenote: Treatment of model.] Having now chosen his model and arranged other matters, the student must remember to let his model stand or sit, as he or she likes, and all suggestions for the pose should come from the model; this is a fundamental principle of naturalism. A great friend of ours, a well-known sculptor, assures us he would not dare to pose a model according to any preconceived idea, but he watches the model pose in different ways, and when he sees a striking and beautiful attitude be seizes on that and makes a rapid sketch of it. That is the only true way for the photographer to work, he must have the camera ready, focussed and arranged, and when he sees his model in an _unconscious_ and beautiful pose, he must snap his shutter. It is thus very evident how important is art-knowledge and insight for all good photographic work, and it is thus evident how a man who is sympathetic and of a refined temperament will show his individuality in his work.

[Sidenote: Commercial Groups.]

With commercial groups of bands, football teams, &c., the student has nothing to do, and let him never be induced to photograph anything which he does not think will make a picture. He must have patience also, when waiting for nature’s suggestions; we have waited a whole morning, rubber ball in hand, for a suitable grouping of colts, but we finally got one of the best things we ever produced. If our photographer be a smoker, let him light his pipe and take it easy, talking meanwhile to the model; at length his chance will come, but it may only come once, and then he must not hesitate or the picture may be lost in a moment. It is preferable that all out-door portraits should be taken on a grey day, or in the shade if the sun be shining.

There is a wide field open to wealthy photographers for producing really good pictures of their friends at country houses. But the student must remember that to produce a perfect picture takes a long time and can only be achieved by long and patient practice, coupled with artistic ability. The hurried representations of shooting, boating, and family groups, which are so often produced by industrial photographers, are artistically beneath contempt. They are mere statements of facts, and as much akin to art as the directions in a cookery-book are akin to literature. Photography up to a certain point, and in a haphazard way, is so easily learned now-a-days that there is absolutely no merit in producing such work. Such photographs are only the confessions of untrained and commonplace minds.

LANDSCAPE.

[Sidenote: Landscape.]

The student who would become a landscape photographer must go to the country and live there for long periods; for in no other way can he get any insight into the mystery of nature. All nature near towns is tinged with artificiality, it may not be very patent but the close observer detects it. Among fisher-folk this may be seen in the sealskin cap, in the rustic it shows itself in the hard billycock hat, in landscape pure it may be seen in some artificial forms of the river-banks, or in artificial undergrowths; the mark of the beast, the stamp of vulgarity, that hydra-headed monster which always appears whereever a few men are gathered together, is sure to be found somewhere. For this reason then the would-be landscape-photographer should pack up his things and go to some locality with which he is in sympathy, just as a painter does. [Sidenote: “Outings.”] Here let him be cautioned against taking part in any of those “outings,” organized by well-meaning but mistaken people. It is laughable indeed to read of the doings of these gatherings; of their appointment of a leader (often blind); of the driving in breaks, always a strong feature of these meetings; of the eatings, an even stronger feature; and finally of the bag, 32 “Ilford’s,” 42 “Wrattens',” 52 “Paget’s,” &c.

Apply the same sort of thing to painting, and would it not indeed be ridiculous? Would it not lower painting in the eyes of the world if say thirty academicians with a leader for the day, assembled at Victoria Station with pastels and boards, or with paint-tubes and small canvasses, and went by train to some village and there proceeded to pastel or paint what the leader suggested; then would follow the dinner (the best part, no doubt), and next day how edified would be the world to read in the daily papers of the most successful outing, the result of which was the covering of 32 “Rowney,” 29 “Windsor and Newton,” and 40 “Newman” canvasses! All these “playings” bring photography down to the level of cycling and canoeing, and yet many photographers wonder that artists will have no official connection with photography. We know well that it is for these and similar reasons that serious artists will not allow their names to be officially connected with photography, and we here earnestly appeal to all who really have the advancement of photography at heart to do all in their power to bring such trivial “play” to an end. [Sidenote: Choice of district.] Having then decided to go to the country, let the student think well with which kind of landscape he is most in sympathy, but let him always remember this fact that all landscape is not suitable for pictorial purposes; he must therefore learn to distinguish between the suitable and the unsuitable. Landscapes there are full of charm, pleasant places for a picnic or encampment, but when you come to put them into a picture, they become tame and commonplace.

Again let the student avoid imitation. If he knows that an artist has been successful in one place, do not let him, like a feeble imitator, be led thither also, for the chances are, if his predecessor were a strong man, that he will produce commonplaces where the other produced masterpieces, and thereby confess his inferiority. It is far better to be original in a smaller way than another, than to be even a first-rate imitator of another, however great.

[Sidenote: Photographic haunts.]

For this reason the present method adopted by inartistic writers of publishing “Photographic Haunts” is strongly to be deprecated, such guides can but lead to conventional and imitative, therefore contemptible work. The fact of the matter is nature is full of pictures, and they are to be found in what appears to the uninitiated the most unlikely places. Let the honest student then choose some district with which he is in sympathy, and let him go there quietly and spend a few months, or even weeks if he cannot spare months, and let him day and night study the effects of nature, and try at any rate to produce _one picture_ of his own, one picture which shall show an honest attempt to probe the mysteries of nature and art, one picture which shall show the author has something to say, and knows how to say it, as perhaps no other living person could say it; that is something to have accomplished. Remember that your photograph is as true an index of your mind, as if you had written out a confession of faith on paper.

We will now offer a few remarks on the component parts of a picture.

THE “LINES.”

[Sidenote: “Lines.”]

As we have said there can be no rules for the arrangement of lines, yet they are all-important and essential to the expression of harmony and directness. The student must cultivate the habit of quickly analyzing the lines of a picture, and coming to a decision whether they are harmonious and pictorially suitable. For example, he must not have the lines of different objects cutting each other and forming unpleasant angles, for if he does this the eye of the observer will never get away from the geometrical figure, however good the other part of the picture may be. He should look for repeated line, and his lines should run into the picture, thus all uncomfortableness is avoided. [Sidenote: Balance.] There is no necessity for balance or the equal arrangement of masses on either side of the picture, for this, though it may produce pretty pictures, will never produce strong ones. Every line must help to tell the story and strengthen the picture, otherwise it weakens it.

AËRIAL PERSPECTIVE.

[Sidenote: Aërial perspective.]

It is of vital importance that this be well rendered, the method for obtaining it having already been shown.

The student must remember that he must give the true value to the separate planes of the picture, or it is worthless for reasons already stated. The state of the weather, has, as we have indicated, a wonderful modifying effect on this perspective, and must be carefully studied.

TONE.

[Sidenote: Tone.]

Of vital importance is the relatively true rendering of tone as already indicated. This is such a subtle subject that no directions can be given for it, and the student can only master the subject by a long and ardent study of nature. He can test his knowledge by his power of criticizing pictures away from nature, for their truth or falsity of tone. The key in which the picture is pitched should always be in keeping with the subject rendered.

COMPOSITION.

[Sidenote: Composition.]

The objects must be arranged so that the thing expressed is told clearly and directly, in short, the student should try to express his subject as it has never been expressed before. All things not connected with the subject should be removed, and all but the chief thing to be expressed should be carefully subdued. The interest must not be divided, but all must go to help the expression of the _motif_ of the picture. Thus a white patch the size of a threepenny piece may ruin a twelve by ten inch plate, as many a hat, a basket, as many a small article has done; just as a false foot may ruin an otherwise fine stanza. Be most careful how you introduce a detail, it may either make or mar your picture.

The sentiment and detail must always be appropriate or the result is a travesty. Thus haymakers do not wear new-fashioned buttoned boots, nor do rustics wear sun-bonnets and aprons all clean and fashionably cut. But this is only a superficial matter, the artist must carry appropriateness much deeper than in mere costume; for example, a flock of sheep on a pasture may be made quite false in sentiment, if they are driven in a way that suggests a march to the slaughter-house, and they very easily huddle together in a manner that suggests that final procession. The student will now see how subtle all these matters are, and how little yet how much divides the masterpiece from mediocrity. Some photographers think naturalism consists only in taking things as they are, and they will exclaim, if you criticize their work, “Oh! it was just like that any way.” True, oh ingenuous one, but it was just some other way as well, and perhaps that other way might have given a work of art, whereas this way has given a bald and uninteresting fact. Selection or composition is a most subtle matter, and one very difficult to learn, but let the student persevere, and if he has the ability he will find that the scales will fall from his eyes as he goes on.

IMPRESSION.

[Sidenote: Impression.]

The impression must be true throughout, and if all the preceding components are true the impression will be true.

Our student may now have carried out all these things and yet there may be no picture, his mind may be commonplace. He may have wasted a good technique on a commonplace subject, such as a yacht going in full sail, an express train, some very ordinary dogs or horses, or some very extraordinary men or women. We are then brought to a very important matter, the subject.

SUBJECT OF THE PICTURE.

[Sidenote: Subject.]

The subject must have pictorial qualities, it must be typical, and must give æsthetic pleasure. The student must look for elegance and a _distingué_ air in his subject. You will find that the best pictures will be of those subjects which hit you hardest in nature, those which strike you so much that you feel an irresistible desire to secure them.

[Sidenote: Art of feeling nature.]

You must then train your feelings, for, as John Constable said, “the art of feeling nature is a thing almost as much to be cultivated as the art of reading the Egyptian hieroglyphics.” You must then, when you have felt your subject, be resolute and only take in what is necessary to express your subject; this is the text of the artist. Everything must be harmonious and comfortable, but that alone will not suffice any more than will the subject alone. Everything must be in keeping in the picture. The artist must be in sympathy with his subject, “_entrer dans la même peau_,” as the French say. He must have no preconceived notion of how he is going to do a subject, but take all his suggestions from nature and humbly follow them and lovingly portray them. Pure imitation of nature (even if it were possible) won’t do, the artist must add his intellect, hence his work is an interpretation. To photograph a “flying express” so that it looks as if standing still is imitation, to render it with the suggestion of motion by its smoke and steam is an interpretation. The great question which the student should ask himself is: My aim, what is it? If that be serious and honest, and not feeble and vainglorious, he is all right. Remember that the aim of art is to give æsthetic pleasure, and that artists are the best judges of this matter, and you will find that so good is their training that they often elevate the meanest things they touch.

[Sidenote: Poetry in works of art.]

The highest expression is that of poetry, and therefore the best works of art all contain poetry. What poetry is and how it is to be got is not to be discussed in our present state of knowledge, suffice it to say that the poet is born and not made, though the poet’s speech may be improved by training.

[Sidenote: Qualities of a picture.]

Thus it will be seen how difficult a matter it is to produce a _picture_, even when we have thoroughly mastered our technique and practice, for, to recapitulate, in a picture the arrangement of lines must be appropriate, the aërial perspective must be truly and subtily yet broadly rendered, the tonality must be relatively true, the composition must be perfect, the impression true, the subject distinguished, and if the picture is to be a masterpiece, the _motif_ must be poetically rendered, for there is a poetry of photography as there is of painting and literature.

Never rest satisfied then until these requirements are all fulfilled, and destroy all works in which they are not to be found.

That it will be possible for comparatively few to succeed is evident, but the prize is worth striving for, for even if we do not all attain to the production of perfect works, we shall have gained a knowledge of art and an insight into nature, that will be a never-failing source of pleasure to us in our daily walks.

FIGURE AND LANDSCAPE.

[Sidenote: Figure and landscape.]

By far the most difficult branch of photography is that in which figures occur in landscapes. All previous remarks apply to this branch of the art, only here it is more necessary than ever that every detail be perfect. This is a branch which we have perhaps studied and developed more than any other, and yet even now we feel but a beginner in it. One thing you must never forget, that is the _type_; you must choose your models most carefully, and they must without fail be picturesque and typical. The student should feel that there never was such a fisherman, or such a ploughman, or such a poacher, or such an old man, or such a beautiful girl, as he is picturing. It is a great mistake for photographers to attempt rural subjects unless they have lived in the country for a long time and are thoroughly imbued with the sentiment of country life. The truth of this axiom is proved by the falseness of sentiment seen in most country pictures done by painters even. The student who lives in town will find good figure-subjects in the town, and if he has no sympathy with such life, he should try such subjects as shooting parties, coursing meets, riding subjects, and beautiful women. It is fallacious to try and cultivate an unsympathetic field and is sure to end in mediocrity or failure.

STUDIO PORTRAITURE.

[Sidenote: Studio Portraiture.]

The easiest branch of photography is portraiture in the studio, for all conditions, including even the dress of the model, are in the photographer’s hands. The lighting is also perfectly under control.

[Sidenote: Principles of lighting.]

The principles of lighting a face are briefly these: A top light gives the best and subtlest modelling, and gives more relief than any other lighting. But the aim of pictorial art is not to give relief to illusion, therefore the top light effect is modified by a side light and by reflectors. The principle of using a reflector is this: Light falling at right angles on a plane surface gives the highest light, then as we turn the reflector through a circle, we get all gradations up to full dark, when the reflector is turned right round. This principle must be remembered in lighting the planes of the face. The portraitist must work as does the sculptor, in planes and tone, that is, he must quickly make an analysis of the face and observe the most suitable treatment of the subject, and then he must focus and develop so as to bring the planes well out, and they must be broad in treatment and relatively true in tone.

These are the only principles which can be given for lighting, their application can be learned by study first on a plaster cast, and afterwards on the living model.

[Sidenote: Character or expression.]

The great thing to obtain is the character or expression of the model, everything must be sacrificed for this in portraiture, and enough of the figure must be taken in to thoroughly express the character. Thus the head alone may do in some cases, in others it will be necessary to include the hands, in others the whole body. It is needless to repeat that all portraits should be taken by quick exposures. The best way is for the student to have a very long elastic tube to his shutter, then he can walk about and talk to the model, and when he sees a good natural pose, he can expose, and his picture will probably be good. The present way of posing, using head-rests, &c., is feeble and archaic, and nearly certain to result in failure.

Another important hint is to place the lens on the same level as the eye of the model, neither higher nor lower, especially if large heads are taken. When the picture is to be full length or three-quarter length, the head should still receive the principal attention, and all else be subdued.

We have already treated of arrangements of backgrounds and dresses in harmonies, and of the absolute necessity for using only suitable accessories. In addition all other principles of composition, harmony, breadth, as already described, must be remembered.

[Sidenote: Adam Salomon.]

Finally we give a quotation from M. Adam Salomon, sculptor and photographer:—

“Each subject should be treated according to its own requirements, its own individualism.... When the artist is interested in his work and believes in his art, it becomes wonderfully plastic, and the materials wonderfully tractable in his hands.”