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graphic technique. It seems paradoxical, but is an undoubted 

 truism, that for good pictorial work it is necessary to have a far 

 greater knowledge of, and command over, the technical part of the 

 work than suffices to produce excellent records. Never 

 antagonistic, but supplementary, the two kinds of photography have 

 much in common. 



To make a good record photograph we use the finest lenses and 

 apparatus that we can command and choose a printing process that 

 will give as much detail as possible, shown in the clearest way. 

 Orthochromatic or panchromatic plates and suitable screens should 

 be used to give the truest colour rendering in monochrome, otherwise 

 our record is imperfect. No handwork of any kind is permissible on 

 negative or print, save perhaps the removal of pinholes. To make 

 perfect records, the only other technical accomplishment necessary 

 is the power to increase the contrasts, in development and printing, 

 of a subject taken under flat conditions of lighting, and to decrease 

 the contrasts, by similar means, of one that is harshly lit, since the 

 subject cannot always be obtained under ideal conditions of 

 lighting. 



For artistic work it is necessary not only to be able to make 

 uniformly good negatives and prints but to ring the changes as we 

 desire and as best suits the subject, to produce a result in a high key 

 or in a low key at will, to emphasise some parts and suppress 

 others, to select and to reject, to choose the printing process, colour 

 and surface of print, the mounting scheme and numerous other 

 details which together make the result a success, a harmonious and 

 unified whole. The individuality with which such means may be 

 employed is demonstrated by the ease with which one who has a 

 moderate acquaintance with the works of the masters of artistic 

 photography can pick out new works of theirs and name the authors, 

 just as is possible in the case of good paintings. In record photo- 

 graphy there can be no individuality. 



The not uncommon idea that a picture must be diffuse and 

 indistinct to be artistic is quite erroneous and any excess of diffusion 

 over that necessary in many cases to give " breadth," that is, to 

 subjugate unrequired and distracting detail, is detrimental. 



A few further remarks may conclude this very brief outline of 

 a very large subject. Scientific or record photography is of little or 

 no direct interest to anyone who has no knowledge of, or enthusiasm 

 for, the particular branch illustrated. Pictorial photography is of wider 

 interest because its appeal is to the heart rather than to knowledge. 

 Any attempt to define the relative value of the two is, however, much 

 too intricate to be possible and is, I may add, quite unnecessary. It 

 is well for all photographic workers to realise this, especially where, as 

 in our own Section, both aims are pursued side by side. It is 

 perfectly possible, if not very usual, for the same person to work 

 along both lines, keeping the results separate, but using his technique 

 in common. 



In conclusion I ought to mention a class of photograph, common 

 enough, which at first sight seem to fall under neither of the two 

 great headings described. It consists of mementoes, generally of 



