Arthur Hammond Quotes

The function of composition is to make a picture interesting, and the disposition of the lines in the picture, the opposition of lines, and their placing in the picture-space will all help in giving the desired interest.

It must be understood that in picture-making the methods used by one photographer may be entirely unsuited to another. This must be so, or there would be little or no individuality in pictures by different artists.

The artist, and more especially he who uses a camera, must enedeavor to be, not a mere recorder of external facts, but one who forms a vivid mental impression and tries to make us realize his impression.

Photography, properly controlled, can render tones better than any other medium of artistic expression, and personal control of exposure and development will be all that is necessary to get good tones and truthful gradations, for the camera, properly guided and then left to do its own job in its own way, will take care of the tones of a picture very well.

The very word composition, defined as the "the act of composing; putting together; arranging in proper order," implies that the picture-maker must do something besides setting up his camera and letting it photograph just what happens before it.

One of the most important qualities a picture can possess is simplicity. This is true not only of photographic pictures but also of drawings, paintings or etchings. By being simple a picture gains enormously in strength and effectiveness; it wears well; one can live with it and enjoy it without getting tired of it.

It will be found, as a general rule, that a point about one-third of the width of the picture-space from the top or bottom of the picture, and about one-third from one side, will be a strong position for such an accent. These points may be found by imagining that your picture-space is divided both vertically and horizontally into three equal strips by lines that will cross each other at four points. Each of these four intersection points will be a strong position, and an accent at any one of these points will be well placed in the picture-space. It will not matter at all what the shape of the picture may be, whether it be an upright or a horizontal rectangle, or a square, these four points, each of them one-third of the width of the picture-space from top or bottom and one side, will be strong points.

...there is another kind of perspective that is of great importance in picture-making. This is known as aerial perspective, and this kind of perspective imparts "atmosphere" and depth to a picture, and gives a suggestion of space and distance in an outdoor view.

...it is essential to have only one principal object of interest in a picture. Without it the picture is not completely satisfying, for the eye is apt to wander over the surface of the picture, seeking rest and finding none.

Too many lines and too many objects of equal importance in a picture will cause confusion, discomfort and eye-strain.

The lack of hard edges and the entire absence of that biting hardness of definition that is unavoidable with some lenses is just what the picture maker wants.

I do want to make it clear that the success of the picture does not depend entirely upon the beauty of the subject, but mainly upon the manner in which the picture-maker uses his pictorial material.

There should be no very violent contrasts and no spottiness of light and shade, and, above all, the tones must be right.

Plates and films possess great latitude, it is true, but too short an exposure always has a tendency to cause a loss of atmosphere.

The treatment of the subject is considered to be more important than the subject itself.