THE CAMERA IN THE FIELD, THE WORKSHOP, ECC.
We must now say a few words on the different sub jects which come to be depicted by the camera, for it must be evident that the manipulations and apparatus will be very different according as the desire is to por tray possibly a building, or shipping in motion, or the face of a friend.
We will first take the cam of landscape work, which is what the amateur more often confines himself to.
This will possibly be the best place to say a few words on the size of plate to be used. By reference to advertisements at the end of the book it will be seen that not only are the designs of cameras various, but that the size of plates for which cameras are made also varies greatly.
It is true that very satisfactory results can be got by the use of the simplest of cameras—of small size, fitted with only one lens, such as is comprised in our " Students' Set." On the other hand, it cannot be denied that the various adjustments with which some of the more com plicated instruments—for example, the " Enjalbert "— are fitted afford great facilities for the production of effects which could not otherwise be obtained, nor can it be denied that much more scope is given to the artist if his camera is furnished with several lenses of different focal lengths, any one of which may be used, than if he had but one. Besides this, many photographers are not satisfied with a picture of the smallest dimensions, but aspire to the taking of something considerably larger than 5 by 4.
We would suggest SI- by GI as a good size for such as intend to take the field unassisted. All the necessary apparatus may easily be carried in the hand by a man of average strength. An active man can carry apparatus for a somewhat larger size—say up to 10 inches by 8 inches. For any size beyond this it is necessary, if any distance is to be walked, that the photographer should have some assistance. Two men can easily carry all that is neces sary for working very large plates—say up to 15 inches by 12 inches.
As regards the subjects which may be selected for photographic representation, we may make the some what wide statement that almost any brightly-lighted object which appears beautiful to the eye, and which owes its beauty to form or light and shade, not to colour, will make a picture.
Landscapes which include trees and houses, rivers, lakes, quiet pools of water, or any of the objects which make a pleasing picture to the eye, will make a pleasing picture by the assistance of the camera. Buildings and all that is of interest to the architect, archieologist, or antiquary will be rendered with a truth and reality which excels what is possible by any hand process. Admirable pictures have been made of mountains, but the subject is not an easy one to treat. The difficulty of giving a faithful rendering of distance by photography is great. It can, however, be done by taking advantage of proper atmospheric conditions, and particularly by avoiding those conditions of intense transparency which cause distant objects to appear even to the eye near and small.
In selecting subjects it should be borne in mind that if the object is to make artistic pictures something more than mere beauty is required. A landscape may be most beautiful and may give the utmost pleasure to one who looks upon it, whilst we know that it does not possess the elements of a picture.
It would appear that what is necessary for a picture is that there should be a certain harmony of the whole ; that it should not consist of a number of disjointed objects of beauty, but that every part should appear to bear a certain relation to every other.
We often look about us when in a picturesque country and see with pleasure and admiration the objects around us, and yet are not looking on a picture. We are glancing our eyes from one object to another, and get a general impression of beauty. It is when we can look at some certain object and find that others near it appear to so fall in with it as to compose well, or give a harmony of form, light, and shade, that we should bring out our camera and try to make a picture, To descend from the general to the particular, it is common to say that there is necessary for a landscape picture a foreground, a middle distance, a distance, and a principal object which is usually situated well forward in the middle distance. It is impossible to lay down any such rule as absolute, but it is certain that these elements enter into the majority of good pictures.