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Alfred Horsley Hinton Quotes
1863–1908 England
Alfred Horsley Hinton (1863 – 25 February 1908) was an English landscape photographer, best known for his work in the pictorialist movement in the 1890s and early 1900s.
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45 quotes
A good negative is one thing, but a negative that will enable us to get a good picture is another.
The desire to see for the sake of seeing is with most people the only desire to be gratified; hence the delight in detail.
As a rule, in pictorial photography a long-focus lens will on the whole be most satisfactory.
Justification must be sought in the fact that "no very great incongruity is observable."
Art seeks ever to conceal the means by which its effects are produced and the method in which the work is wrought.
A picture whether or not it is really true to fact must above all things appear true.
The texture of the printed image is of such peculiar character that neither brush or liquid paint seem capable of imitating it.
A little thought, however, will show that both aerial and linear perspective play as important a part in the heavens as on the earth beneath.
The chief characteristic of the pin-hole photograph is that we get a general suppression of focus in all parts the picture is nowhere quite sharp.
The moment the eye perceives that the picture is produced by other than the professed means, the effect, the appeal to the imagination, is disturbed.
The prettiest or most interesting prospect may lack the conditions which awaken our emotions, and, lacking the essentials of the picture, must be passed by.
It must ever be borne in mind that the prime object of all fine arts is to please through some or other of the emotions which it stirs.
The utmost care and forethought, and no little manipulative skill, are necessary to control the defining power of the lens or detail printing power of a sharply focused negative.
Both with the negative in position and subsequently without it, every part of a large print is, maybe, thus printed in, piece by piece, a large print often occupying me two or three days.
In such a picture the artist may depart from actual fact, from what actually was, so long as he does not exceed what might have been.
Hence SELECTION in photography, or at least in landscape and some other branches of work, often takes the place of what in painting becomes voluntary COMPOSITION.
The sky is as much an essential part of the picture as any other part of it, and indeed, in very many instances, constitutes the key-note and important feature of the whole idea.
Very great care should then be taken to see that distant objects are rendered so as to appear distant that is, in correct relative tone when compared with the foreground or nearer portions.
It is the subjects which might be imitated by pieces of paper of varying depth of color laid one over the other, which are the subjects that will give more readily the greater satisfaction.
Photography itself may err by inaccurately rendering the relative tones in Nature. Then we shall have to ask, What is " Tone "?...
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