Our ideas on composition.
Now, from these remarks, it must not be assumed that we are no believer in “composition.” Composition is really selection, and is one of the most—if not the most—vital matters in all art, certainly the most vital in the art of photography. But the writer maintains there are no laws for selection. Each picture requires a special composition, and every artist treats each picture originally; his method of treatment, however, often becomes a “law” for lesser lights.
It has been assumed by opponents to “Naturalism” that naturalistic artists ignore composition, and portray nature “anyhow,” just as she happens to present herself to them. Nothing could be further from the truth. None is more careful in selection and arrangement than the naturalistic painter, at the same time none is less conventional. Nature is not always suitable for pictorial purposes, though she is often enough suitable, and it is when she is propitious that the artist depicts her; hence the great principle of naturalism, that all suggestions should come from nature. The object of art training is to show these propitious moods, and to enable the painter to portray them. We prefer, then, the word “selection” to composition. The matter really stands thus, a good naturalistic artist selects a composition in nature which he sees to be very fine.
By composition, as used in this paragraph, is meant the harmonious and fitting combination of the various component parts of the picture which shall best express the picture.
Our best method will be to follow Mr. Burnet’s division of his subject, and offer a running commentary on the essentials of his work from a photographer’s standpoint, giving our ideas on the subject when they differ from those of the author of “A Treatise on Painting.”
“A Treatise on Painting,” by J. Burnet, F.R.S.
Education of the Eye.—Measurement and Form.
Burnet’s “Painting.”
Omitting to comment on Mr. Burnet’s remarks, we put the matter thus, that it is highly desirable for all photographers to learn drawing, and to learn it intelligently. Nothing could be more lamentable than the way in which drawing is taught in our schools, it is worse than useless. The student should go to some good art school for a few months, and learn drawing, for in that way are learned the analysis and construction of objects, and, above all, the eye is trained to careful observation, which will be invaluable in the study of tone and selection.
Perspective.