Now, a few words on a most important subject, and one over which the photographer has some slight control; I refer to "light and shade." In dealing with form, the photographer is somewhat heavily handicapped, but, by making the exposure at the right time of day, and when the subject is most suitably lighted, he will be able to secure just the effect of light and shade desired. One reason why such a large number of photographs are so unpleasing, although the composition may be good, is due to the spotty and scattered nature of the lighting. This is particularly noticeable in landscape subjects where there is much foliage. The light is reflected from the small leaves in a distracting manner, which detracts greatly from the general effect. The light and shade in a photograph should be massed as much as possible, so as to secure breadth ; very fine effects are sometimes obtained by bringing the highest light into strong contrast with the deepest shadow. But here it is necessary to remind the photographer that he cannot produce on a photographic plate the exact gradation of light and shade existing in nature; for, as I have endeavoured to explain in the chapter upon isochro matic photography, ordinary plates are less sensitive to some colours than to others, particularly to yellow and green, and it is for this reason that isochromatic plates are so markedly superior for landscape work. A great many landscapes excite our admiration solely on account of the beauty of their colouring, and this fact the photographer should always bear in mind : The plan is adopted by some, and it is one to be commended, of looking at the selected view through a piece of blue glass, or a pair of blue spectacles ; it will then be seen whether the effect is due to local colouring only, or to a fine disposition of light and shade.
In regard to choice of subject a volume might be written, but here I must content myself with a few words. The beginner should confine himself to landscape pure and simple until he has made himself thoroughly acquainted with the use of his tools. Having done so he may then try the introduction of animals or figures into the composition, but only, of course, allowing them to occupy a subordinate or accessory part in the picture. Figure, genre, and group
studies are to the photographer the most difficult of all, and the beginner, who has received no art training, would do well not to attempt them until he has acquired considerable proficiency in dealing with simpler subjects.
Simplicity, both in the subject and its treatment, is really the key-note to successful picture•making with the camera and lens. Extensive landscapes, seen perhaps from well-known view points are seldom well rendered in a photo graph. A little bit of leafy lane, with a thatched cottage peeping through the trees, will probably make a far more pleasing photograph than a mountain range, or a wide tract of country. Remember the limitations of photography, and beware of attempting too much. Let every picture have a motive, and, as it were, tell its own tale; avoid meaning less composition—a collection of accessories without aim or object.
I will conclude these short comments upon what is really a very wide subject by a brief reference to a most im portant matter, viz., the position of the horizon line. It should rarely, if ever, be absolutely central, cutting the plate, as it were, into two equal portions (figs. 6 and 7). Whether it be high or low must, to some extent, depend upon the nature of the subject and the effect sought for. When photographing in a flat country, if it be desired to give the impression of distance, the horizon should be kept low, and should not be higher than one-third up the plate. If much foreground be included in pictures of this class, the feeling of distance is to some extent lost, owing to the fact that the lens, as a rule, includes too wide an angle of view, giving undue prominence to near objects, and consequently dwarf ing the distance. A low horizon is generally easier to manage than a high one, though there are occasions when the high horizon is very effective. This is often the case in marine work, and particularly with upright pictures, but it will generally be safe to place the horizon line about one-third from the base of the picture.
I have now, I trust, written sufficiently upon this topic to induce the reader to seek further knowledge from such books as those from the pen of Mr. Robinson to which I have already referred.