A work of art is a work of order, and if the artist is to put the stamp of his own mind on his work, he must arrange, modify, and dispose of his materials so that they may appear in a more agreeable and beautiful manner than they would have assumed without his interference.

... any dodge, or trick, or conjuration of any kind is open to the photographer's use so that it belongs to his art and is not false to nature. If the dodges, tricks, etc., lead the photographer astray, so much the worse for him; if they do not assist him to represent nature, he is not fit to use them. It is not the fault of the dodges, it is the fault of the bungler.

It was soon evident in my lodgings that I had become a dangerous lunatic, and there would be nothing left to destroy if strong measures were not taken. So I was turned out of the house, but it was only into the garden, where I was allowed to build a small darkroom of oilcloth.

The aim and end of the artist is not truth exactly, much less fact; it is effect... There is no doubt he [the photographer] best gets his effect by way of truth, but he uses it as he would a servant, not a master.

Look may be that everything is right, it is always best to have an inspection before marching. To forget a screw, if you have a loose one, and only discover your loss when you are miles from home and the view before you is "perfect", is to promote, possibly suicide, certainly profanity.

After some time passed in studying - and even imitating - the works of others, I would recommend the student to endeavour to be original, and to remember that originality should not be undiscovered plagiarism.

It must be confessed that it takes considerable skill to produce the best kind of lies. It is in the hands of first-class photographers only - and perhaps the indifferent ones - that photography can lie.