DOI article:
Alice Boughton, Photography, A Medium of Expression [reprint from The Scrip, December, 1905 with an introduction by the Camera Work editors]
DOI Page / Citation link:https://doi.org/10.11588/diglit.31040#0055
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of earthquakes and cyclones, comets and meteors. Through the whole list
of the sciences, from astronomy to medicine, it is being adopted.
But to return to artistic photography—though the adjective is overworked
in these days—no word has yet been said of the conditions which exist in the
studio, of the relations between photographer and sitter, and of the many
things which go to make up a successful photograph, which must also be a
portrait. Among the many who admire this “new photography” and say it is
just what they want, there still lingers the old ideal of retouched prettiness,
and if the result does not fit this preconceived notion, they will none of it.
It has already been said that the photographer must first of all have ideas,
that he must understand his tools and that his personality plays so prominent
a part that it cannot be undervalued. He must have tact, the social instinct,
and infinite patience. In doing children, for instance, he must amuse, watch
for the right moment, be constantly and continually on the alert, and work
for the unconsciousness which is one of their chief charms. With grown
people, although great rapidity is not so essential, there are other requirements.
The photographer should be intuitive, to be able to get in touch with his subject,
just as the painter; to study character every moment while not ostensibly doing
so, and to be ready when the right instant presents itself. This is not an easy
task, and frequently incurs the spoiling of several plates, besides taxing the ut-
most resources of the photographer. The painter usually has several sittings,
sees his subject under varying conditions in different moods, has a chance, in
short, to become acquainted with the personality he is to portray. The
photographer, on the other hand, has one moderately short session, and for
that reason, too, he must sharpen his wits.
He should realize at once how different persons should be done; which
require delicate treatment and which can stand strong contrasts. Sometimes
a light scheme of whites and greys, by the very closeness of the values, can
suggest the etheral quality of a delicate child, or a young girl, or frail old age.
Heavy blacks and browns are for persons with color and brunettes, and are
strong masses for men. In between come a countless number of grada-
tions, from the subtlety of a fine drawing to the Rembrandtesque distribution
of lights and shades. The photographer also must understand pose and light-
ing. Composition in itself suggests endless variety, the word being used in
the painter’s sense. Here one of the limitations looms large.
That there shall be one centre of interest is necessary, and that the parts
should not apparently be out of focus. A good composition presupposes a
“pleasing arrangement of shapes.” This is, of course, an art phrase, but
entirely applicable. By it is meant that the design—which may be a single
figure or a group—shall fill the size plate used in an agreeable manner.
To repeat, if the photographer has sufficient insight to perceive the
interest and character of the sitter, the result may be a real achievement. This
does not necessarily mean that the subject should be beautiful or graceful,
or “know how to pose.” It is the photographers’ business to try and seize
upon and bring out the innate quality the individuality or charm of each.
Referring to the statement at the beginning that photography can hardly
35
of the sciences, from astronomy to medicine, it is being adopted.
But to return to artistic photography—though the adjective is overworked
in these days—no word has yet been said of the conditions which exist in the
studio, of the relations between photographer and sitter, and of the many
things which go to make up a successful photograph, which must also be a
portrait. Among the many who admire this “new photography” and say it is
just what they want, there still lingers the old ideal of retouched prettiness,
and if the result does not fit this preconceived notion, they will none of it.
It has already been said that the photographer must first of all have ideas,
that he must understand his tools and that his personality plays so prominent
a part that it cannot be undervalued. He must have tact, the social instinct,
and infinite patience. In doing children, for instance, he must amuse, watch
for the right moment, be constantly and continually on the alert, and work
for the unconsciousness which is one of their chief charms. With grown
people, although great rapidity is not so essential, there are other requirements.
The photographer should be intuitive, to be able to get in touch with his subject,
just as the painter; to study character every moment while not ostensibly doing
so, and to be ready when the right instant presents itself. This is not an easy
task, and frequently incurs the spoiling of several plates, besides taxing the ut-
most resources of the photographer. The painter usually has several sittings,
sees his subject under varying conditions in different moods, has a chance, in
short, to become acquainted with the personality he is to portray. The
photographer, on the other hand, has one moderately short session, and for
that reason, too, he must sharpen his wits.
He should realize at once how different persons should be done; which
require delicate treatment and which can stand strong contrasts. Sometimes
a light scheme of whites and greys, by the very closeness of the values, can
suggest the etheral quality of a delicate child, or a young girl, or frail old age.
Heavy blacks and browns are for persons with color and brunettes, and are
strong masses for men. In between come a countless number of grada-
tions, from the subtlety of a fine drawing to the Rembrandtesque distribution
of lights and shades. The photographer also must understand pose and light-
ing. Composition in itself suggests endless variety, the word being used in
the painter’s sense. Here one of the limitations looms large.
That there shall be one centre of interest is necessary, and that the parts
should not apparently be out of focus. A good composition presupposes a
“pleasing arrangement of shapes.” This is, of course, an art phrase, but
entirely applicable. By it is meant that the design—which may be a single
figure or a group—shall fill the size plate used in an agreeable manner.
To repeat, if the photographer has sufficient insight to perceive the
interest and character of the sitter, the result may be a real achievement. This
does not necessarily mean that the subject should be beautiful or graceful,
or “know how to pose.” It is the photographers’ business to try and seize
upon and bring out the innate quality the individuality or charm of each.
Referring to the statement at the beginning that photography can hardly
35
