AET IN PHOTOGBAPHT. 209 



has a harder task to make a picture, than has the painter. It is 

 astonishing how seldom natnre makes a satisfactory composition. 

 Even after selecting the best position possible, it is often found 

 in pi'actice that a part of the subject ought to be somewhere 

 else. A tree wants transplanting, or a foreground is character- 

 less, or two effective objects — neither of which can be omitted 

 without detriment to the picture, — are most objectionably far 

 apart, and by no manner of means can be secured in the way 

 most desirable. Unfortunately, a lens will only reproduce what 

 lies within its compass, and if it be a lens of an artistic angle 

 — (about 50 or 60 degrees) — by no contrivance will it include 

 more than lies within those limits. But what about the 

 painter ? He has no scruples, as a rule, about putting in 

 telling pieces of foreground, or leaving out what he does not 

 want, or " getting in " his subject by (unconsciously, perhaps) 

 dwarfing heights, or narrowing the space between features that 

 are important but naturally too widely separated ; — and in that 

 way makes pretty pictures of apparently moderate angle, which 

 please the eye, and are things of beauty. But if their landscapes 

 were made to conform to the severe discipline of correct optics, 

 from the point of view at which they were taken, it would 

 astonish many landscape painters to know what truly miraculous 

 feats they sometimes perform. 



And yet photography is a wonderful educator ; it trains the 

 eye to admire artistic effect, and to appreciate nature's beauties, 

 and for that reason commands the attachment of many amateurs 

 — who have this advantage over professionals, that they are not 

 harassed by the caprice of clients, but can take what they like, 

 when they like, and how they like it. The latter, however, 

 might instil more art into their work than they do, without 

 sacrificing their commercial interest. There are some brilliant 

 exceptions — but, as a body, they must produce artistic work 

 before they can rightfully enjoy the name of artists. 



The circumstances under which the prints before us were 

 taken are, of course, quite unknown : no doubt the photographer 

 had good cause and the best of reasons for taking them in the 

 manner depicted ; but to illustrate the foregoing remarks, 

 — that less in-artistic work might be produced by professional 

 photographers, with a little more care — we may just draw 



