[Photographer, b. 1822, Chesterfield, Derbyshire, England, d. 1898, Cannes, France.]
Every stone, every little perfection, or dilapidation, the most minute detail, which, on an ordinary drawing, would merit no special attention, becomes, on a photograph, worthy of careful study.
A photographer only knows—he only can appreciate the difficulty of getting a view satisfactorily into the camera: foregrounds are especially perverse; distance too near or too far; the falling away of the ground; the intervention of some brick wall or other commonplace object, which an artist would simply omit; some or all of these things, (with plenty others of a similar character) are the rule, not the exception. (1858)
... I hold it to be impossible, by any means; fully and truthfully to inform the mind of scenes which are wholly foreign to the eye. There is no effectual substitute for actual travel; but it is my ambition to provide for those to whom circumstances forbid that luxury faithful representations of the scenes I have witnessed, and I shall endeavour to make the simple truthfulness of the camera a guide for my pen. (1858)
Very commonly, indeed, we have observed that these faithful pictures have conveyed to ourselves more copious and correct ideas of detail than the inspection of the subjects themselves had supplied; for there appears to be a greater aptitude in the mind for careful and minute study from paper, and at intervals of leisure, than when the mind is occupied with the general impressions suggested by the view of the objects themselves, accompanied, as inspections usually are, by some degree of unsettlement, or of excitement, if the object be of great or unwonted interest. (1859)