The American annual of photography . his is the effect of per-spective upon distant objects, which by the interposition ofthe atmosphere so masses their forms that they blend into onetone. There ought to be no abrupt change or break in thismerging of the sky and land, but the earth should graduallyadvance and unobti*usively blend into the sky, which in like man-ner will recede from the top of the view to meet the landscape. Sunshine and air are the very life of a landscape, and this is,of course, more apparent in a low level country than in a hillyone. The gloomy, opaque-looking sky present in
The American annual of photography . his is the effect of per-spective upon distant objects, which by the interposition ofthe atmosphere so masses their forms that they blend into onetone. There ought to be no abrupt change or break in thismerging of the sky and land, but the earth should graduallyadvance and unobti*usively blend into the sky, which in like man-ner will recede from the top of the view to meet the landscape. Sunshine and air are the very life of a landscape, and this is,of course, more apparent in a low level country than in a hillyone. The gloomy, opaque-looking sky present in so manyphotographs is as unreal as an expanse of white paper, andexpresses quite as little sentiment. We always associate thesky with light and air, and this quality is never absent. Undercertain aspects the sky grows dark and threatening—as duringa thunder shower—but even in this instance there is no ap-pearance of that heavy solidity so vividly depicted by manyso-called impressionistic prints. Certain conditions may some- 198. A STUDY. A. GOMEZ GIMENO. times suggests a walled-in effect, but these are uncommon tran-sitory phases of Nature and hold no interest for the pictorialworker. Indeed, they should be included in the class withphenomena, and as merely accidental occurrences. Anotherpitfall which I would caution the serious camerist to avoid, isthe home-manufactured sky, which for the past few years hasbeen so persistently overdone. These crude representationsare generally too unreal to suggest anything but meaninglessdaubs of pigment in the hands of a child. To work up a satis-factory sky requires about the same ability that is necessary topaint a picture, which skill few photographers possess. A de-sire to do away with the white paper strip may be taken as agood indication that the worker is on the right road, but do notlet your eagerness carry you beyond the boundary of goodtaste. The camerist who seeks to break up this unattractivemonotony by resorting to rough pa
Size: 1358px × 1841px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, bookpublishernewyorktennantandw
