The necessity of either the one or the other is more clearly shown when the line from the boat swings in the opposite direction.
An object may be rendered less important by surrounding it with objects of its own kind and color.
An abrupt change in the direction of a line may have attraction equal to an object on that line.
With two spaces of equal size, importance may be given to one of them by increasing its light; by using leading lines toward it, by placing an accent upon it, by creating a gradation in it.
Spots often become the equivalent of lines in their attractive value.
A series of oppositional lines has more picturesqueness than the tangent, its equivalent.
A gradation may have the equivalent attraction of an object.
A line in its continuity is more attractive than a succession of isolated objects.
The attractive value of an object in the scale of balance may be weakened by moving it toward the centre or extending the picture on that side.
Motion toward, either in intention or by action, is equivalent to balancing weight in that space of the picture to which the action is directed.
Light is increased by deepening contiguous tones; dark, by heightening contiguous tones.
A still-life may be constructed on the same lines as any form on the vertical plane and many of the perspective plane of composition. See _Fundamental Forms_.
CHAPTER XI - THE PLACE OF PHOTOGRAPHY IN FINE ART
Since the time that photography laid its claim to be reckoned among the fine arts the attention of artists has been attracted first by the _claim_ and thereafter, with acknowledgments, to the _performance._
The art cry of the newly baptized had the vehement ring of faith and determination. Like the prophecy of the embryo premier it sounded: “My lords, you will hear me yet.”
The sustained interest of the “Photographic Salon” and the utterance of its exhibitors in the language of art, has long since obtained concession to the claim for _associate membership._ To make this relationship complete became the effort of many writers of the photographic circle. “The whole point then,” writes Prof. P. H. Emerson, B. A., M. D., of England, “is that what the painter strives to do is to render, by any means in his power, as true an impression of any picture which he wishes to express as possible. A photographic artist strives for the same end and in two points only does he fall short of the painter—in color and in the ability to render so accurately the relative values, although this is to a great extent compensated by the tone of the picture. How then is photography superior to etching, wood-cutting, charcoal drawing? The drawing of the lens is not to be equalled by any man. There is ample room for selection, judgment and posing, and, in a word, in capable hands a finished photograph is a work of art. Thus we see that the art has at last found a scientific basis and can be rationally discussed, and I think I am right in saying that I was the first to base the claims of photography as a fine art on these grounds and I venture to predict that the day will come when photographs will be admitted to hang on the walls of the Royal Academy.”