Publisher's Synopsis
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1896 edition. Excerpt: ... the extreme realist, feels and admits that truth in excess is wisdom written backwards. This applies to photography as much as to any other form of art. That good art must be based on truth to Nature is-admitted by the most conventional, but the word " truth " has become a kind of automatic cry little understood by many who use it. The aim and end of the artist is not truth exactly, much less fact; it is effect. I know this sounds shocking to the purist's ear, but it is quite true. There is no doubt he best gets his effect by way of truth, but he uses it as he would a servant, not as a master. The newest critics go so far as to say that effect is not only the aim but the end of art, and will not admit that it need say anything more. It is not good to set up a fetish, even a respectable one. Truth should be classed with the other materials, whether paint, brushes, canvas, cameras, or prepared plates. All must, of course, be properly used or success will be missed, and the greater the ambition the more prodigious the fall if failure ensues, which is as it should be. Fortunately the photographer has always the opportunity of destroying his failures, a privilege, however, of which he seldom takes sufficient advantage. Besides the truthful ones, there are those who honestly have a holy horror of anything they do not think legitimate in photography, but there are more who only pose as strict and proper professors of our gentle art. The standard of what is right is, however, often of their own setting up, and a false one. What is our art that it should be more strictly guarded than any other? There are proverbially tricks in all trades, and why should we not have some in ours? This affectation of pure photography is like talking of the " well...
