The aim of this annual is to show a representative collection of pictorial work and no other. There are plenty of publications that cater to news and documentary photography. This does not men that all the pictures are conventional – far from it; rather we may have made the basis of selection that which is adopted by the London Salon of Photography – “that there must be distinct evidence of personal artistic feelings and execution.” This means that originality is prerequisite and one only has to compare this volume with one of ten or more years ago to see there is plenty of scope for it within the limits of the photographic process. Pictorial photography can and does keep abreast of fashion in outlook, presentation and subject matter.
We cannot describe pictorial photography as an art without defining our use of the word – one that is loosely used. All kinds of things can be called works of Art: pictures, symphonies, buildings, industrial designs, bridges or even landscape garden. The one common factor is that of personal inspiration and creative conception, without which none of them are anything but utilities. A work of art demands a personal mastery over the materials employed but the fact that a thing was difficult to do does not make it a work of art. The whole history of art is not a story of progress in technical efficiency but a story of human expression reflecting personal ideas in all ages.
Critics of photography say that it cannot be an art because the camera can only record what is in front of it and the photographer is not able to “create from nothing” like a painter. If the premise is accepted, then poetry. Drama and music cannot be arts because they are limited to the use of existing words and notes. They are, in fact, art of direction, in which the author moulds existing materials to project his own personal ideas, and the artistic photographer has the same facility at his disposal.
The pictorialist starts the creative chain of events by his selection of subject, by the layman has difficulty in understanding how he can be creative in other ways because of the popular belief that the “camera never lie”. He does not realize that perspective can be varied by choice of viewpoint; that shapes can altered by lighting techniques and that the whole atmosphere of the subject can be changed by variations of contrast or key. The photographer is working within predetermined “frame” and the composition or arrangement can be varied to project entirely different ideas.
Amongst these critics, however, are some who are prompted by a genuine desire to explore new paths and new original ideas to express. They are to be encouraged because they represent the progress that is essential to any art, and some of this work has been included in this book. Sometimes their pictures go rather too far along unconventional lines to please the traditionalists – but what is outrageous today is often the fashion tomorrow. We have tried to include only those, which are progressive and not just reactionary, but all of them have a strong emotional appeal.
Expression and composition are certainly the most important elements of a pictorial photograph but the quality of technique must also be considered. Sometimes the “message” is powerful enough to surmount a great deal of faulty technique and make the picture acceptable. Nerveless the result will be even better with good technique, which always helps to emphasize the other, more important, qualities in the picture.
It is hoped that these remarks will assist the laymen to evaluate the pictures in this book and to understand why they were deemed worthy of inclusion. As usual, there follows a brief commentary giving the silent virtues of each picture. Space does not permit a detailed analysis but the comments may help the tyro towards an evaluation of the photographs shown. By studying and analyzing good pictures in man medium he will learn to apply the basic principles in his own work and he will the better be enable to understand the whole world of graphic art.
Morning Songs
By Francis Wu
This photograph is notable for its well-rendered water texture. The boughs in the foreground are intended to give their picture depth and perhaps help to build the true atmosphere. It is a pity that they do not fall into a better design and the out of focus branch is almost unfortunate. Nevertheless, there is quite a lot of mood in the picture and the small boat helps to give a remarkable perspective.
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| Morning Songs By Francis Wu |
