40 THE WOMBAT. 



as it often happens that " Coming events cast their shadows 

 before," a human shadow or shadows (without the object 

 itself), a lady's wrap, a parasol in a boat, or on a boulder of 

 rock or fallen log, an open book, a fishing rod, and so on, if 

 judiciously disposed and not too obtrusive will often effectually 

 supply a desirable element of romance or human interest and 

 in a subtle and not too positive way ; in fact it is a variation 

 of the principle of mystery and stimulation of the fancy. 

 Apparent trifles such as these count for a great deal in art : 

 at the same time anything hackneyed should be avoided, — 

 originality and novelty should be aimed at. 



I am inclined to think that comparatively few photo- 

 graphers have any higher aspirations and ideal than mere 

 manipulative proficiency ; hence the ultra-importance attached 

 to technique such as sharpness of definition, contrast, toning, 

 and the like. Possibly this is largely due to the limited con- 

 ditions of amateur competition : as a rule, no matter what the 

 subject or motive, more points can be obtained for such 

 qualities than for artistic merits. As a non-competitor I speak 

 without soreness on this point. (By the way, in competitions 

 artistic merit and genius should be placed on a par with 

 mechanical excellence by a maximum of fifty per cent, of points 

 being awarded to each.) 



Another important principle in picture-making is that 

 a full light, as from behind a camera, seldom produces such 

 pleasing results as an angular or opposite lighting, although 

 much in this respect depends upon the nature of the subject 

 and of the light itself. Thus, a morning scene looking west- 

 wards may be charming if for instance it consists of a piece 

 of river and hill composition with the shadows of hills behind 

 the spectator thrown over a portion of the opposite banks, 

 but the distribution of light and shade in such a case must be 

 judicious. Almost any object or subject in full unbroken 

 light is displeasing ; nor should any object be an isolated 

 mass of shadow. It may form part of a mass of shadow, or a 

 portion only of it may be in shade. As with the objects them- 

 selves the breadths of light and shade should be distributed 

 on similar principles, and may in fact form an essential part 

 of the general grouping, and thereby compensate for what 

 would otherwise be defective composition. Gradation and 

 diversity are as important as contrast. 



Another consideration that seems to me of great im- 

 portance and necessary to mention, seeing that the principle 

 is so frequently disregarded, is that objects in themselves 

 symmetrical or graceful (as, for instance, elegant buildings, 

 bridges, and trees) do not as a rule compose well in landscape, 

 especially in or near the foreground ; nor do trim vessels and 

 yachts in marine studies unless the position is so contrived as 



