This section is from the book "Complete Self-Instructing Library Of Practical Photography", by J. B. Schriever. Also available from Amazon: Complete Self-Instructing Library Of Practical Photography.
By R. W. Phillips.
Introductory. In the preceding volumes of this library we have been led through the mazes of practical photography, and have been given thorough instruction in technical lines in all branches of this, the most interesting of the graphic arts. It would seem that all the points, even of the minutest detail, have been thoroughly covered, but many volumes will be written on things yet unthought of, because, with all the discoveries of chemical compounds, with all the accomplishments of the scientific student, and with all the beautiful results obtained by the master workman - as shown you in this and preceding volumes - photography is yet in its infancy.
611. We have come to a point where we recognize that photography is not only the medium for artistic expression, but that it will soon take its place in the world to express art itself. Bound by the mechanical lens, the chemical formulae, the hard and fast rules for lighting and the limitations of manufactured papers, it has progressed to a point of wonderful technical perfection. But the energetic minds of this generation of men and women are not satisfied with limitations, and, loving their profession as they undoubtedly do, they have broken away from the technical ties that have kept them in check, and are making rapid strides in what, for the want of a better name, we will call, " The New School in Portrait Photography."
612. There are those who are giving their time and
S15 labor towards pictorial work alone, but the master portraitin photography includes both branches in his work, never to lose sight of the wonderful opportunities within his grasp for the expression of character and individuality in his subjects. The advanced student of this new school, being past master of photographic technique, realizes that he can now cut loose from the old formula of "Just the right time, just the right development," etc., etc., and he says to the technical demonstrator, "I shall undertime or over-time, under-develop or over-develop as the case may require for the result I am after. Moreover, I sall photograph my sitter in any light that pleases my eye, whether it comes from the top, side, or up from the floor; and I may be found combining any two or all three of these lights. What I am after is to see with the artist's eye and the complete mastery of my medium will produce the desired result."
613. Does the artist give you an absolute copy of the light as it falls on his subject in the studio? No! For generations he has idealized. Why should not the advanced student in photography do the same? He no longer trusts to the developer in the tray to do all the work - he takes his negative in hand and, by skillful manipulation, locally develops to bring the high-lights, middle tones and deep shadows into ideal relation one with the other. All this we will show as we progress.