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Many people who have never taken up either painting or drawing and know absolutely nothing about either one, imagined that the discoveries of Niepce and Daguerre would enable just about anyone who could afford a darkroom with all the Daguerreian paraphernalia, including a how to brochure, to produce wonders.
They were mistaken. I am not saying there that one must be an expert at painting or drawing in order to become a good photographer, but what I am saying is that one must be an artist. You must have sensitivity to painting, understand its effect and composition. Those are crucial matters if you do not want to spend your life turning out, without realizing it, a lot of ridiculous pictures, and there are too many of those out there already.
To those who wish to become decent photographers and acquire those skills, if they do not yet have them, I would say this: Get acquainted with an elite painter, someone serious, ask him for his advice and then put it to good use.
Most photographers who do only portraits might think that it is not really necessary to know how to compose a scene in order to do something so simple. Well, those are precisely the ones I want to understand that being knowledgeable is essential, because, to me, nothing appears quite so difficult as to pose a model well and light him correctly, for the very reason that it seems so simple to do.
In the interest of photography and photographers I cannot urge amateurs enough to understand that photography is not a trade but an art and that, as a consequence, their feeling and their knowledge must be reflected in their works just as the feeling of a painter is reflected in his paintings.
In order to prove this point, one needs only who operate equally well and use the same techniques. Their finished products are all very different. Each one of them will have a distinctive style and it is almost as easy to recognize them as to tell a Delacroix from a Decamp or a Corot from a Troyon."

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"Artistic Photography of Today" The Amateur Photographer 11 October 1904, p. 288 [cited in: "Pictorial Photography in Britain 1900 – 1920", exhibition catalogue, Arts Council of Great Britain in association with The Royal Photographic Society, London 1978, p. 18]

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Disappearing Witness: Change in Twentieth-Century American Photography by Gretchen Garner

ISBN: 0801871670 This book is available from Amazon

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lecture given before the Société Française de Photographie.

The picture history of photography: From the earliest beginnings to the present day by Peter Pollack

ISBN: 0500271011 Page: 141 This book is available from Amazon

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Interview with Karsh by Peter Adams.

Yousuf Karsh
The Elements of a Pictorial Photograph
The Elements of a Pictorial Photograph

This passage, which comes from his 1896 book "The Elements of a Pictorial Photograph"

It Has To Walk Alone
It Has To Walk Alone

Infinity, Vol. 7, No. 11, pp. 6-7,14.

PHOTOGRAPHY AT THE CROSSROADS
PHOTOGRAPHY AT THE CROSSROADS

Universal Photo Almanac, pp. 42-47. 1951

Berenice Abbott: A song of life
Berenice Abbott: A song of life

Berenice Abbott, It has to walk alone, 1951 Creative Camera, March, 1974, page 77

From ‘A Personal Credo’ American Annual of Photography 1944
From ‘A Personal Credo’ American Annual of Photography 1944

Article by Ansel Adams, Creative Camera magazine.

SEEING PHOTOGRAPHICALLY
SEEING PHOTOGRAPHICALLY

The Complete Photographer, Vol. 9. No. 49. pp. 3200-3206. 1943

André Kertész Biography, Life, Quotes, Ideas & Photography
André Kertész Biography, Life, Quotes, Ideas & Photography

A well-known personality in the field of photography, André Kertész was known for his unique sense of style of the portrayal of the objects of our everyday life.

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