38.Quackery has but too much power. But one thing it cannot do, it cannot keep us thinking the worst it the best;For the moment it may mislead, but only the best will command enduring approval. 8o we want the best you can give us. We want it to be over advancing. Your work you cannot make too good. 1 hold this to be a wholesome and cheering word. It has sure hope for all who are trying to do noble work, and thus artists indeed. Let them take comfort. The best work will tell. It will tell even on the quacks. The good worker will get recognition Good photographer are like artist in any other sphere of life - in sculpture, law, painting commerce, preaching - sure,if they will hut be patient and loyal, of acceptance and honor at last. But they must bide their time.They must wait until we of the public, ignorant as we are, knowing of their art, save its finished results, have found out that their work it good.
39. It is true that in out-door photography this principle comes most into play, hut the eye that is accustomed to its study there will he the more apt to discern the best phases and the varied qualities and quantities of light in the studio. The more so now, in these days of rapidly working chemicals and energetic emulsions, to say nothing of the diffusion of focus lenses, which the opticians would have us use. As we are able to work with more speed, we can reduce the amount of reflected light in the picture and secure more softness and mellowness, both in the lights and in the shadows. Between the hazy, lazy, wearied sort of light, and that full of vigor and snap and hardness, there is a rich and delicate medium. Having a knowledge of the principles of aerial perspective, we can distinguish these effects and secure them, to the extinguishment of the defects which often destroy otherwise good photography.
40. It has been the effort thus far to interest you in the rudimentary principles of art, with a view to their practice in the more elaborate branch thereof called composition. This embodies the arranging of the various component parts of a picture, so that its general effect may be one of harmony and order. The study of the rules which govern it cannot be too earnestly urged upon all photographers. Their lack of knowledge on the subject has been one of the main hindrances to the recognition of photography as a member of the circle of arts which has already been alluded to.
41. Sound may be brought from a musical instrument by any child, or
89. The photographer's first care should be to study his model before placing it under the obective's inflexible and undiscriminating eye. Here begins the role of light, with the infinite gradations by which it can indicate form. It is, therefore, of the utmost importance to comprehend the characteristics of the model, and how they may be best rendered, so as to modify the action of light, and thus secure in the portrait suggestions of the true type and character of the sitter. - Adam Salomon.
40. It seems to me that a careful study of photography is, after the study of nature, one of the best helps to any beginner in art. It must surely correct that tendency to shirk the hard work in drawing which has been fatal to so many Turners and Claudes. It keeps the multi-tudinousness of nature ever in mind; it seems to place the vision of a vastly superior eye constantly before us. - Charles Akers.
41. It must, of necessity, be that even works of genius, like every other effect, as they must have their cause, must likewise have their rules. It cannot be by chance that excellences are produced with any consistency or certainty, for this is not the nature of chanc; by the veriest savage; but it would not be music with sweet harmony unless the chords were touched by the skilled and law - abiding band. It is too much to expect the products of the camera to be artistic,then,unless he who wields it is governed by the principles of art. True, chance pictures are produced with some claim to subject by photographers who do not possess one idea of art; but they are accidental. They should be the rale and not the exeption. They can be by proper cultivation.
42.As in perspective we find linear and aerial, so in composition we find that which more properly belongs to the lines in drawing - and that which belongs to the light and shade They are friendly allies, always ready to help one another. Let us consider the first a little further.
The photographer having the subject of his picture presented before him, should at Once pass through his mind what material he has at his disposal to help him, think of his power to use the same, and conclude upon the final effect which he desires to produce.
And in thus composing, he will bring into play the most tit accessories at his command, accepting or rejecting as he finds them to add to, or detract from, the effect of the finished whole.And here as much simplicity as possible is advised, for he is the greatest master, certainly, who produces the most with the least apparent effort but the rules by which men of extraordinary parts, and such as are called men of genius, work, are either such as they discover by their own peculiar observation, or of such a nice texture as not easily to admit of being expressed in words; especially as artists are not very frequently skilful in that mode of communicating ideas. Unsubstantial, however, as these rules may seem, and difficult as it may be to convey them in writing, they are still wen and felt in the mind of the artist; and he works from them with as much certainty as if they were embodied, as we may say, upon paper. It is true these refined reasons cannot be always made palpable, like the more gross rules of art; yet it does not follow, hut that the mind may be put in such a train that it shall perceive, by a kind of scientific sense, that propriety which words, particularly words of unpractised writers, such as we are, can but very feebly suggest. - Sir Joshua Reynold.