There are two distinct roads in photography -- the utilitarian and the aesthetic, the goal of the one being a record of facts, and the other an expression of beauty. - Charles H. Caffin , Photography As a Fine Art by Charles H. Caffin , ISBN: 0871000199
If I am addressing any one who has hitherto regarded art as the mere imitating of objects, this picture should open up a new idea. It would seem that it is not so much the objects as the use which the artist makes of them that constitutes art, the little something of himself mixed in with the ingredients, the personal alchemy that transmutes the commonplace into the beautiful. So, if you want your portrait taken, it may be less important what clothes you wear than whom you select to photograph them. - Charles H. Caffin , Photography As a Fine Art by Charles H. Caffin , ISBN: 0871000199 , Page: 122
Commenting on the photograph "Telegraph Poles" by Clarence H. White
While the picture-maker proves himself to be an artist by the selection of a subject particularly adapted to pictorial representation, by the thoroughness with which he grasps its salient characteristics, and by the vividness of his antecedent conception, he does so also by the reliance which he places on the methods of expression peculiar to his art. How few people realize that these are abstract and make their primary appeal to the eye ! Later, in the case of certain subjects, they may reach the intellect, but even then through the passage-way of the senses. In literature, on the contrary, the words travel direct to the intellect and may later arouse a brain impression as of a picture seen. But in the actual picture of painting or photography, it is the things seen which affect us, and the artist’s skill is shown in what he offers to our sight and ours in the receptivity of our vision. - Charles H. Caffin , Photography As a Fine Art by Charles H. Caffin , ISBN: 0871000199 , Page: 180-182
Surely they [figure photographs] demand… qualities of a very high artistic order. It cannot be too often insisted that the mere snap-shooting of figures or the mere posing of them in some agreeable position is as far removed from the artistic possibilities of picture photography as night from day. The real limitation, the one most difficult to circumvent, comes from the physical and mental imperfections of the model. In studies from the nude this fact is often painfully apparent. Even when the form is comparatively free from faults, a consciousness or even unconsciousness, amounting to blank indifference or some simpering expression of sentiment will mar the picture. - Charles H. Caffin , Views on nudes by Bill Jay , ISBN: 0240507312 , Page: 140
Camera Notes, October 1901