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abstract abstract interpretation admirably Alfred Stieglitz appearance atmosphere average photograph beauty camera character characteristics charm Clarence H Claude Lorrain color composition contrast decorative delicate detail distinction effect emotion etching evanescent example exhibitions face facts figure Gertrude Gertrude Kasebier glycerine process gum-bichromate hand human illustrated imagination impression impressionistic interest John La Farge Kasebier Keiley lady landscape landscape art latter light and shade lines Madonna manipulation masses means ment merely motive mystery nature negative ness Nicolas Poussin Nirvana objects oil painting ourselves painter or photographer painting paper Paris Salon pattern of form photog pictorial picture platinotype platinum Portrait pose possibilities previous chapter qualities rapher reach realize record rendering represent reproduced result Salon scape scene secure seems shadow soft spontaneousness Steichen straight photograph straight record suggestion sympathy temperament and training texture tion tographer tone trees waves dance White
Page 175 - With coming to say prayers there in a rage: 'We get on fast to see the bricks beneath. 'Expect another job this time next year, 'For pity and religion grow i' the crowd— 'Your painting serves its purpose 1
Page 110 - Refrain from these men, and let them alone; for if this counsel or this work be of men, it will come to nought ; but if it be of God, ye cannot overthrow it ; lest haply ye be found even to fight against God.
Page 9 - There are two distinct roads in photography — the utilitarian and the aesthetic; the goal of the one being a record of facts, and of the other an expression of beauty.
Page 10 - ... values," that is to say, the varying effect of light upon objects of different material and the gradual changes in the color of an object according as it is nearer to or farther from the eye. These involve technical knowledge which may be acquired ; in addition there must be the instinctive sense of what is beautiful in line and form and color, which may be developed by study, and, lastly, the natural gift of imagination which conceives a beautiful subject and uses technique and instinct...
Page 39 - He is by conviction and instinct an exponent of the "straight photograph," working chiefly in the open air, with rapid exposure, leaving his models to pose themselves, and relying for results upon means strictly photographic. He is to be counted among the Impressionists; fully conceiving his picture before he attempts to take it, seeking for effects of vivid actuality and reducing the final record to its...
Page 17 - In short, if he has the equipment of an artist and an artistic individuality, the photographer can surmount or evade the limitations of his mechanical tool, the camera, and produce work which, barring colors, may have the characteristics of a beautiful picture.
Page ii - advanced photographers " is striving to secure in their prints the same qualities that contribute to the beauty of a picture in any other medium, and ask that their work may be judged by the same standard.
Page 39 - ... prints often resembled paintings and drawings, and although he occasionally made gum prints himself and experimented with other manipulative processes, he preferred all his life to stick closely to the basic properties of camera, lens and emulsion. Charles H. Caffin said in 1901 that Stieglitz was by conviction and instinct an exponent of the "straight photograph," working chiefly in the open air, with rapid exposures, leaving his models to pose themselves, and relying for results upon means...
Page 166 - For the lover of nature can never be satisfied with a mere record of the physical facts ; to him there is, as it were, a soul within them, and he looks in pictures for its interpretation. It would not be far wrong to say that landscape art is the real religious art of the present age. 166 CHAPTER VII. 'SCURRYING HOME" By Alfred Stieglitz 'THE URN