The Largest of the Cedars, Mount Lebannon 1857

Editor: So, this is Francis Frith's "The Largest of the Cedars, Mount Lebanon," an albumen print from 1857. It feels quite imposing, this giant tree dominating the frame. What do you see in its composition that stands out to you? Curator: I am drawn to the way the photographer employs light and shadow to define form. Consider the stark contrast between the sunlit branches and the darkened recesses of the tree's trunk. This creates a profound sense of depth and texture. Note how the structure is established using the Rule of Thirds, placing the center tree slightly to the right, does it alter your perspective in any manner? Editor: I hadn't thought of the composition itself creating depth, I was mostly caught up in what it represents. So the texture comes from the highlights and shadows, and the rule of thirds adds a structural element, rather than just a snapshot. I am learning a lot! Curator: Exactly. Now observe how Frith uses the smaller trees in the background, the smaller, and fainter versions contribute to the texture in a subtle manner. Editor: Ah, yes, the receding trees almost flatten themselves in the background, whereas that enormous cedar jumps out towards us. Curator: Precise, this juxtaposition reinforces a hierarchical reading of forms and scales within the artwork. Furthermore, how does the placement of the man sitting at the base of the large tree impact the viewer? Editor: He's so small! He adds a sense of scale, right? By emphasizing that difference in size, and its effectiveness on this. So, through contrasting forms, we create meaning. Curator: Precisely. By analysing intrinsic elements, we can comprehend how photographic choices amplify specific readings. Editor: This focus on the elements of form really changes how I'll look at photographs now. Thank you.