Wilson's quarter century in photography : a collection of hints on practical photography which form a complete text-book of the art . condary consideration. There isalways a conflict between taste and ignorance; carry it on as courteously as you may,but yield no jot. In time you will be supported by those who really can discern, whoseopinion is received by many who do not judge for themselves. When you find that the public have faith in you, keep faith with yourself and them bydoing always your best.—W. J. Baker. 64. Now, the skill of the artist is to find its exercise in the remedy for all th
Wilson's quarter century in photography : a collection of hints on practical photography which form a complete text-book of the art . condary consideration. There isalways a conflict between taste and ignorance; carry it on as courteously as you may,but yield no jot. In time you will be supported by those who really can discern, whoseopinion is received by many who do not judge for themselves. When you find that the public have faith in you, keep faith with yourself and them bydoing always your best.—W. J. Baker. 64. Now, the skill of the artist is to find its exercise in the remedy for all these variousconditions; and his taste in the evocation of expression will be called into great andconstant demand. The subjects, alas! cannot see how themselves appear. They thinkthey are doing the fine thing, just when they are making themselves appear most ridicu-lous. The operator must manage them to his own taste, and must do it without otfendingtheir vanity, or treading upon their peculiarities, of which we all have a good to do all this is of course a problem, and one as diversified as the persons who Fig. THE APPLICATION OF ART PRINCIPLES 159 65. The sentiment or conception of a picture, however, does not yield theonly opportunity for the artist to display feeling. As was indicated in thevery beginning of this chapter,everything may be ruined, allpicturesqueness destroyed, by thecareless or ignorant managementof the light. Therefore the ar-rangement of the light and shadein a picture offers the artist a goodopportunity for the display offeeling. What better example ofthis do we need than the lovelycomposition of Jennie Browns-combe—We all do fade as aleaf? The faded leaf is thesubject of consideration. All eyesare directed to it; and the prin-cipal lights are upon the faces sodirected as to give full value tothe sentiment of the deftly too are the shadow^smanaged—each mass caused to bring out the value of some corresponding present th
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