38 THE WOMBAT. 



constituted as to be peculiarly sensitive to visual impressions, 

 and when this sensitiveness is allied to a daintiness or fastid- 

 iousness as regards combinations of form, colour and effect, 

 and to a refinement of feeling, we have artistic taste in the 

 conventional sense. There is, perhaps, no absolute standard, 

 as witness the various " schools " of art such as the 

 " impressionist ," the so-called " aesthetic," the " realistic," 

 and numerous others; each is a law to itself, and yet there are 

 certain principles common to all. 



The artist, photographic or otherwise, may either please 

 his own taste, seek for the appreciation of the artistic 

 fraternity, or simply cater for the million. It is possible to 

 hit at least two of these birds with one stone, but often he 

 must be content with one only. If his object be merely to 

 obtain a pictorial souvenir of some place or thing, the 

 photographer may plant his camera wherever, and operate 

 under any conditions, he chooses ; but if he desire to please 

 others, he must consult their tastes so far as he is able to judge 

 of them. The artistic world will be influenced chiefly by the 

 " technique," subtleties of treatment, and effects generally, 

 though the subject and sentiment will count for something ; 

 the general public will as a rule be mostly impressed by the 

 subject itself, and by the emotions it arouses. 



To become popular a picture must appeal powerfully to> 

 some widespread human sentiment. Thus, pictures repre- 

 senting or suggesting romance and love, child-life, female 

 beauty, and manly strength and courage (as in battle scenes, 

 etc.), are perhaps the most popular of all ; while those suggest- 

 ing mental pleasures, including picturesque or imposing land 

 and sea-scapes, appeal with perhaps equal effect to a more 

 limited circle, and it is with this class of pictures aud this 

 section of the public the amateur photographer is chiefly 

 concerned. 



I consider it of the greatest importance, however, that there 

 should be some more or less powerful sentiment and pleasurable 

 suggestion in every picture, otherwise it is commonplace and 

 uninteresting. 



Therefore the first consideration in planning a " picture " 

 (as distinct from a mere photo or " view ") is to decide on some 

 subject and treatment that will " catch on." 



In landscape photography it is necessary to discriminate 

 between simple views, objects of various kinds, and pictorial 

 effects (e.g. light and shade, distance effects, and the like)* 

 The most effective subjects are " effects" and " bits " consisting 

 of some object or group of objects forming part only of the 

 general view. One of the commonest mistakes is to think that 

 a fine view or a piece of scenery charming in itself will 

 necessarily make a good picture. Probably much if not most 



