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Pictorial Selection in 

 Photography. 



[Photographic Section of the Croydou Microscopical Society.] 



In dealing with the composition of pictures in reference to photography, 

 apart from painting, it is only necessary to treat of : the position and 

 arrangement of lines ; the balance of parts ; the variation in the tones of 

 light and shade; and the most suitable positions for the introduction of 

 figures or other objects which shall go to form a pleasing picture. 



Let me, however, at the outset, explain that it is farthest from my 

 wish to insist exclusively on any one series of rules upon which all 

 pictures should be constructed, any more than I would desire to enforce 

 a standard by which all works should be judged whether they be good or 

 bad. I mean that, having regard to the great difference of opinion held on 

 matters of art, it is useless to lay down an inflexible or hard-and-fast line 

 which admits of no departure. I hope, therefore, the remarks I may 

 make will be accepted rather in the light of " hints," in the carrying out 

 of which a better result may be obtained than would otherwise occur 

 should these points be overlooked or neglected. 



Seeing that photography is so purely a mechanical process in which 

 the artist has no chance of leaving out any objectionable object which 

 may detract from the view before his lens, it is of the utmost importance 

 he should know some of the principles on which a good picture is built 

 up, in order that he may in some measure be able to cope with the diffi- 

 culty and perhaps overcome it. To know where and how to select the 

 best standpoint, how much of the prospect to include in his picture — and, 

 of equal importance, how much he should ex-clude — to note the changes 

 under varying lights, the relief of those portions in light against others 

 in shade or cast shadow, the judicious arrangement of parts, or the apt 

 introduction of figures requires more training than the setting up of a 

 camera, the snapping of a shutter, and the subsequent development of 



