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Frases de Alfred Horsley Hinton

Alfred Horsley Hinton was an English landscape photographer, best known for his work in the pictorialist movement in the 1890s and early 1900s. As an original member of the Linked Ring and editor of The Amateur Photographer, he was one of the movement's staunchest advocates. Hinton wrote nearly a dozen books on photographic technique, and his photographs were exhibited at expositions throughout Europe and North America. Wikipedia  

✵ 1863 – 25. Fevereiro 1908
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Alfred Horsley Hinton: 64   citações 0   Curtidas

Alfred Horsley Hinton: Frases em inglês

“It should be a point for careful consideration, then, that with due consideration for perspective, lighting, etc., those clouds should be chosen for a landscape which, together with the landscape, will make a well-composed, well-balanced, and symmetrical whole.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Composition and clouds considered as an aid to expression, p. 104

“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.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, How expression may be given to a picture, p. 33

“… to put it into slightly different form, it is not the facts in nature that the good picture aims at portraying, but the effects of light and shade accompanied by a pleasing arrangement.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, How expression may be given to a picture, p. 34

“A good negative is one thing, but a negative that will enable us to get a good picture is another.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Development of negatives, p. 106

“Art seeks ever to conceal the means by which its effects are produced and the method in which the work is wrought.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Printing the picture and controlling its formation, p. 90

“The different degree of light interference between blue and red also affords a power which we may be glad to avail ourselves, in some cases using the red where a very marked degree of lightening is desired, or blue where only a trifling difference is needed.”

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Alfred Horsley Hinton

Fonte: Part II : Practical Pictorial Photography, Fidelity to nature and justifiable untruth, p. 21

“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.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Perspective of clouds, p. 96

“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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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, How expression may be given to a picture, p. 34

“…but record and recognition are not pictorial qualities.”

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Alfred Horsley Hinton

Fonte: Part II : Practical Pictorial Photography, The consideration of some examples of sharp and suppressed definition, p. 44

“…strictly speaking, tone is the relative lightness and darkness due to the effect of light governed by atmosphere, and has nothing to do with the relative lightness and darkness or relative value with which various colours appear when compared with each other.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Tone and atmoshphere, p. 47

“This is another matter that will need careful study, because the earth, having only one chief source of light, it follows that if clouds be printed into a landscape, both must show evidence of being lighted from the same direction.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Illumination of clouds and the direction of light, p. 101

“Probably every portrait photographer resorts to some such "dodge" for making a face lighter or other similar purpose, and he finds that the application of water-color paint in ever so thin a wash makes so much difference to the printing density that blue is commonly used as being a quick printing color, the effect of which is therefore not so great; an equally dense layer of blue and of red to any portion of a negative would print very differently, the red shutting off the light action much more powerfully than the blue.”

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Alfred Horsley Hinton

Fonte: Part II : Practical Pictorial Photography, Fidelity to nature and justifiable untruth, p. 20

“The practice of Pictorial Photography cannot be taught by a Kindergarten system; the mere comparison with typical examples must be accompanied with a right understanding of underlying principles and theory.”

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Alfred Horsley Hinton

Fonte: Part II : Practical Pictorial Photography, p. 1

“With most of us, even without special training, there is a certain instinctive sense of proportion, and thus we recognize the relative distance of objects by their relative size.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, The use of the lens in pictorial work, p. 51

“…skies and clouds were still regarded as something quite apart from the rest of the picture, and, indeed, are still so regarded by the less advanced.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Clouds. Their use, and practical instructions as to how to photography them, p. 92

“… especially considering that the whole matter of applying photography to purely artistic ends is in such a state of infancy, and that this idea of deliberate violation of truth to fact, for the sake of securing truth to ideas, has hardly yet been put into practice.”

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Alfred Horsley Hinton

Fonte: Part II : Practical Pictorial Photography, Fidelity to nature and justifiable untruth, p. 14

“As a rule, in pictorial photography a long-focus lens will on the whole be most satisfactory.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, The use of the lens in pictorial work, p. 58

“The desire to see for the sake of seeing is with most people the only desire to be gratified; hence the delight in detail.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Methods - The practical application of means to end, p. 27

“As a general rule, therefore, the lights and shadows of clouds near the horizon are less vivid than in clouds higher up. Exceptions to this rough rule will be found when the source of light is near the horizon, as in sunset and sunrise, also when there is a gathering of local stormclouds which may hover over the distance as a dark pall, when there is fair weather and light, transparent clouds near to us.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Perspective of clouds, p. 100

“Size, the mere number of square inches, of a picture, counts for nothing. A small picture may be quite as satisfying as a large; for remember that, as compared with the size of the mountain itself, the difference between a picture of it, thirty inches long, and one of six inches, is less than trifling.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Development of negatives, p. 108

“The objection to the shiny, highly polished surface of albumen and gelatine papers is that, besides the fact that the surface reflects false and disturbing lights, the very polish and gloss has an artificial appearance which, from its very superfine character, irresistibly reminds us of its origin and nature.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Printing methods and their bearing on pictorial photography, p. 71

“It must be remembered that after all in making a picture we are endeavoring to set down on one plane various objects in such a way as to suggest an infinitude of varying planes, and hence we are justified in selecting such conditions of nature as shall help us to give the impression of truthfulness, even though it be not in particular cases absolutely true to fact.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Tone and atmoshphere, p. 46

“Inferior as a mechanical printing method for ordinary photographic purposes, the gum process may for a time at least be regarded as standing apart for pictorial purposes, because the large amount of personal control which must be exercised before it can be said to show distinct advantages over other methods implies that the controlling hand must be guided by an artist that is, a man of such large instinctive artistic taste that one can hardly conceive that he would be able to produce a better result by painting, and without the use of photography at all, were he to devote the same skill and endeavour to the employment of brush or pencil, instead of photographic appliances.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Printing methods and their bearing on pictorial photography, p. 73

“… generally speaking, a thin negative, one with a minimum of contrast and density, yet with just sufficient to give the amount of contrast required in the print, should be aimed at; but it must possess very soft gradation throughout.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Development of negatives, p. 106

“…--- a view may include any number of interesting facts, may constitute a whole catalog of important and pretty items, and so be valuable as a view or as a record; but it would utterly fails as a pictorial composition.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Methods - The practical application of means to end, p. 19

“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.”

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Alfred Horsley Hinton

Fonte: Part II : Practical Pictorial Photography, The consideration of some examples of sharp and suppressed definition, p. 39

“Should any of my readers have failed to get useful cloud negatives, and are close upon giving up in despair, as I have known many to be, I would recommend them to forthwith take a slow plate, insert F 45 stop in the lens, and make a quick shutter exposure on some wellmarked sun -lit clouds. Then develop with a slightly diluted developer, and see what comes of it. Probably, if the clouds be heavy, they will be a little under-exposed. Then, from this as a basis it should not be difficult to get on the right road.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Clouds. Their use, and practical instructions as to how to photography them, p. 93

“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.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Tone and atmoshphere, p. 40

“In rave cases, if the sun be behind the observer, the distant land may catch a powerful ray of sunlight, whilst the clouds overhanging it may remain in shadow, and hence light buildings, yellow cornfields, etc., may appear lighter than the distant clouds, but they at the same time gain in an appearance of nearness.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Perspective of clouds, p. 100

“… nature often produces combinations and effects which on paper appear incorrect.”

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Alfred Horsley Hinton

Fonte: Practical Pictorial Photography, 1898, Illumination of clouds and the direction of light, p. 101