“Probably every photographer has at times found it convenient to print one part of a negative more than another or lias covered another portion during printing, thus deliberately making those portions lighter or darker, as the case may be.”

Source: Practical Pictorial Photography, 1898, Printing the picture and controlling its formation, p. 76

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Alfred Horsley Hinton64

British photographer 1863–1908

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“Probably every portrait photographer resorts to some such "dodge" for making a face lighter or other similar purpose, and he finds that the application of water-color paint in ever so thin a wash makes so much difference to the printing density that blue is commonly used as being a quick printing color, the effect of which is therefore not so great; an equally dense layer of blue and of red to any portion of a negative would print very differently, the red shutting off the light action much more powerfully than the blue.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Part II : Practical Pictorial Photography, Fidelity to nature and justifiable untruth, p. 20

“There is a difference in printing greater depth to any portion with the negative and shading down without the negative. In the former case we get a deeper and stronger image, still preserving to a great extent the relative contrasts between the lights and shades in that portion. This is not always what we require. In order to concentrate attention upon that is, to emphasize, some particular spot, it may be desirable to shade down and flatten some portion.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Printing the picture and controlling its formation, p. 88

“Both with the negative in position and subsequently without it, every part of a large print is, maybe, thus printed in, piece by piece, a large print often occupying me two or three days.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Printing the picture and controlling its formation, p. 88

“Mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the “authentic” print makes no sense. But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice – politics.”

Walter Benjamin (1892–1940) German literary critic, philosopher and social critic (1892-1940)

Das Kunstwerk im Zeitalter seiner Reproduzierbarkeit The Work of Art in the Age of Mechanical Reproduction (1935)

“You will feel interested to know the fate of my mathematical speculations in Cambridge. One of the papers is already printed in the Mathematical Journal. Another, which I sent a short time ago, has been very favourably received, and will shortly be printed together with one I had previously sent.”

George Boole (1815–1864) English mathematician, philosopher and logician

George Boole in letter to a friend, 1840, cited in: R. H. Hutton, " Professor Boole http://books.google.com/books?id=pfMEAAAAQAAJ&pg=PA147," in: The British Quarterly Review. (1866), p. 147; Cited in Des MacHale. George Boole: his life and work, Boole Press, 1985. p. 52 <br class="br">1840s

“Logic cannot support the premise that health care is a right. Health care is a service that is administered by another human being with the requisite skills and knowledge. To claim that healthcare as a "right" is to claim a right to the services of the health-care provider. In effect, this means you are claiming a "right" to a portion of that person's life – both a portion of the time already spent developing his skills, and a portion of the time spent practicing those skills on you..”

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Source: "Socialized medicine in U.S. is inevitable!", WorldNetDaily, 2007-09-20 http://www.worldnetdaily.com/news/article.asp?ARTICLE_ID=34741,

“Empathy during agony is a portion of divinity.”

Neal A. Maxwell (1926–2004) Mormon leader

“Yes, in the sense that the negative is like the composer’s score. Then, using that musical analogy, the print is the performance. (Paraphrased as "Film is the score and the print is the performance.")”

Ansel Adams (1902–1984) American photographer and environmentalist

“Whereas slavery, throughout its entire existence in the United States, is none other than the most barbarous, unprovoked and unjustifiable war of one portion of its citizens against another portion, the only conditions of which are perpetual imprisonment and hopeless servitude, or absolute extermination, in utter disregard and violation of those eternal and self-evident truths set forth in our Declaration of Independence.”

John Brown (abolitionist) (1800–1859) American abolitionist

Therefore, we, citizens of the United States, and the oppressed people who, by a recent decision of the Supreme' Court, are declared to have no rights which the white man is bound to respect, together with all other people degraded by the laws thereof, do, for the time being, ordain and establish for ourselves the following Provisional Constitution and Ordinances, the better to protect our persons, property, lives, and liberties, and to govern our actions.
Preamble.
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“Opposites are:
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for tint, the complementaries, that is, a certain red opposed to its complementary, etc.
Red — Green
Orange — Blue
Yellow — Violet
for line, those making a right angle.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“Probably every photographer has at times found it convenient to print one part of a negative more than another or lias covered another portion during printing, thus deliberately making those portions lighter or darker, as the case may be.”

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Alfred Horsley Hinton64

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