File:The American annual of photography (1919) (14759774906).jpg

Identifier: americanannualof3334newy (find matches)
Title: The American annual of photography
Year: 1919 (1910s)
Authors:
Subjects: Photography
Publisher: New York : Tennant and Ward
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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ture. You will readily see that such apractice cannot further the progress of the photographer ormake him realize the exigencies of composition, for if hisoriginal choice had been actuated by deliberation and compre-hended selection, there would be no need for this belated dis-covery. He simply failed in a hit-or-miss choice—a con-tinuance of which will never let him achieve mastery in hiswork. It has often been said by others: Oh, I dont take my pho-tography seriously, you know. I have lots of fun with it.After talking with these people, one finds that they do reallyhave serious ambitions in pictorial photography, but are toomodest to state them. When, logically, a group of their printsis rejected by a jury which confirms their opinion by not takingtheir work seriously, they frantically attack what is known asthe perils of the jury system and how to abolish them. To compose a picture we must first acquaint ourselves withthe anatomy of picture-making. Like the architect, we must i68
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THE WEARY SCRIBE. Louis Astrella. construct it firmly in its frame or boundary line, or it will slipout and fall before us. It is neither necessary to show itsbeams and girders, nor its plans and details. These constituteour inner knowledge and are the exigencies of compositionwhich we as craftsmen are using in a structural sense. Thebeholder is to delight in our finished product; that is ourintention. Now, we cannot know where best to place thesesupports without a study of their disposition in a given space.Knowing where to place them rightly will add strength to ourpicture-house and make it withstand the stress of weather.We are going to use the flimsiest material in making this house—Gods fleeting sunbeams—and we must be as sensitive to itsuse as we can ever be. Our touch must be lightest and ourhandling most delicate, or our material will break in our veryhands. As soon as we have learned the relation which oneobject bears to another and have become sensible to harmonyor disco

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