“The chief characteristic of the pin-hole photograph is that we get a general suppression of focus in all parts the picture is nowhere quite sharp.”

— Alfred Horsley Hinton

Source: Practical Pictorial Photography, 1898, Pin-hole as a substitute for the lens, p. 60

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Alfred Horsley Hinton 64

British photographer 1863–1908

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“It is often difficult and well-nigh impossible, when using the lens, to get all planes in moderate focus without getting one or some part excessively so, and similarly, if we avoid excessive sharpness in each and every part, some planes, such as the extreme distance or immediate foreground, so broken up as to destroy form and structure. Then it is that the pin-hole, with its equal focus in all planes and at any focal length, seems to recommend itself; but if it be desired to emphasize any object, by introducing more detail there than elsewhere, then the uniform sharpness of the pin-hole image fails us.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Pin-hole as a substitute for the lens, p. 60

“But the quality of the result obtained by using a pin-hole to which its advocates attach most importance is the suppression of sharp focus over the whole image, no one plane being more sharply focused than another.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Pin-hole as a substitute for the lens, p. 61

“To synthesize is not necessarily to simplify in the sense of suppressing certain parts of the object: it is to simplify in the sense of rendering intelligible. It is, in short, to put in hierarchic order: to set each picture to a single rhythm, to a dominant; it is sacrifice, to subordinate — to generalize.”

Maurice Denis (1870–1943) French painter

Quote, 1907 from Denis' text 'Synthetism'; as cited in Theories of Modern Art: A Source Book by Artists and Critics, Herschel Browning Chipp, ‎Peter Selz - 1968, p. 105
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“In the twentieth century, nowhere on Earth was sex so vigorously suppressed as in America---and nowhere else was there such a deep interest in it.”

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“As far as the surface is concerned – oil on canvas, conventionally applied – my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.”

Gerhard Richter (1932) German visual artist, born 1932

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“In all the previous cases of wholes, we have nowhere been able to argue from the parts of the whole. Compared to its parts, the whole constituted by them is something quite different, something creatively new, as we have seen. Creative evolution synthesises from the parts a new entity not only different from them, but quite transcending them. That is the essence of a whole. It is always transcendent to its parts, and its character cannot be inferred from the characters of its parts.”

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“It is the chief characteristic of the religion of science that it works.”

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“I didn’t photograph people as an example of New York urban something or other. I don’t have a philosophy. I have a camera. I look into the camera and take pictures. My photographs are the tiniest part of what I see that could be photographed. They are fragments of endless possibilities.”

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“Atmosphere is the medium through which we see all things. In order, therefore, to see them in their true value on a photograph, as we do in Nature, atmosphere must be there. Atmosphere softens all lines; it graduates the transition from light to shade; it is essential to the reproduction of the sense of distance. That dimness of outline which is characteristic for distant objects is due to atmosphere. Now, what atmosphere is to Nature, tone is to a picture.”

Alfred Stieglitz (1864–1946) American photographer

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“It is hardly possible not to suspect the truth of this doctrine of atonement, when we consider that the general maxims to which it may be reduced, are nowhere laid down, or asserted, in the Scriptures, but others quite contrary to them.”

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Part II : Opinions Relating to the Doctrine of Atonement, § I : That Christ did not die to make satisfaction for the sins of men.
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“The chief characteristic of the pin-hole photograph is that we get a general suppression of focus in all parts the picture is nowhere quite sharp.”

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Alfred Horsley Hinton 64

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