Pictorial Composition and the Critical Judgment of Pictures

by Henry Rankin Poore

Says Mr. Ruskin: “The great object of composition being always to secure unity—that is, to make many things one whole—the first mode in which this can be effected is by determining that one feature shall be more important than all the rest and that others shall group with it in subordinate position.”

Principality may be secured either by attraction of light as in a white dress or by placing the figure as the focus of leading lines as are supplied by the architecture of a building, or such lines as are happily created by surrounding figures which proceed toward the principal one, or by including such a figure in the most important line. Again the figure for such a position may be the only one in a group which exhibits unconcern or absolute repose, the others by expression or action acknowledging such sovereignty.

The summer time out-of-door group which is [pg 143] so frequently interesting only to “friends,” in many cases affords opportunities for pictures attractive to all. The average photographer is concerned only with his people; the background is brought to mind when he sees the print. Although little or no interest may be found in the background it should be appropriate, and should play a reserve part, serving the chiaroscuro and therefore the illumination of the subject and creating an opportunity for the exit which always gives depth and an extended interest. A mass of foliage with little penetration by the sky except in one or two places and at the side, not the centre, may always be found safe. If the attraction is too great the group suffers. Appreciating the importance of his setting for groups the photographer must select these with three points in view; simplicity, uninterest and exit in background; simplicity, uninterest and leading line or balancing mass or spot (if required) in foreground. When looking for backgrounds he may feel quite sure he has one if it is the sort of thing he would never dream of photographing on its own account. Besides being too interesting, most backgrounds are inappropriate and distracting. The frequent commendations and prizes accorded to good subjects having these faults and therefore devoid of unity tell how little even photographic judges and editors think on the appropriate and essential ensemble in composition.

With the background in unobjectionable evidence the photographer should rapidly address [pg 144] his posers a little lecture on compositional requirements and at the end ask for volunteers for the sacrificial parts, at the same time reminding them that the back or side view is not only characteristic of the person but often very interesting. He should maintain that a unity be evident in the group; of intent, of line, and of gradation. The first is subjective and must be felt by the posers. The other two qualifications are for the artist's consideration. At such a time his acquaintance with examples of pictorial art will come to his aid. He must be quick to recognize the possibilities of his material which may be hurriedly swept into one of the forms which have justified confidence.

When a continuity of movement has been secured, a revisionary glance must be given to determine if the whole is balanced; background, foreground and focus, one playing into the other as the lines of a dance, leading, merging, dissolving, recurring.

Mindful of the distractions of such occasions, the wise man has done his thinking beforehand, has counted his figures, has noted the tones of clothing and has resolved on his focal light. With this much he has a start and can begin to build at once. His problem is that of the maker of a bouquet adding flower to flower around the centre.

To make a rough sketch from the models themselves posed and thought over, with the opportunity for erasures of revisions before leading them out of doors, often proves economy of time.

It is a custom of continental painters to compose extensive groups and photograph them for study in arrangement. The author has seen numerous compositions in photography in which artists have posed as characters of well-known paintings.

Much can be learned of good grouping from the stage, especially the French stage. The best managers start with the picturesque in mind and are on the alert to produce well arranged pictures. The plays of Victorien Sardou and the classic dramas of the state theatre are studies in the art of group arrangements.

It will be noticed in most groups that there is an active and a passive element, that many figures in their reserve are required to play second to a few. The active principle is represented by these to whom a single idea is delivered for expression.