ea of out of focus images to his students instructing them to make photographs ‘’just as sharp as the eye sees it and no sharper’’ [2]. Believing much like many do now with digital photography that the images presented by the camera were not in fact a true representation of what the human eye could actually see.

The Development of Pictorial Effect
Where as Emerson strived often for the truth within the image, Pictorialism started to move away from this in 1890 where much like in art the substance within the image starting to become more important ‘stressing beauty over fact’ this became apparent within the development of the ‘pictorial effect’ inspired by the atmospherically soft brush strokes of painter from the Barbizon school. Photographers believed that by coating their own paper, before or during the development process with obvious brush strokes and marks, made their photographs works of art opposed to works of science replicating effects that were created when making a painting almost as if they were trying to re-create the authenticity of classic works of art that people at that time didn't feel photographs possessed. I feel these brush strokes also made the work feel as though it was not just an image trapped in a piece of paper but a work that now stood out and belonged in a three dimensional world opposed to a flat one. The brush strokes much like choosing to use a softer focus also aloud the photographer to portray his or her own objective view of the scene it was this that manly the photographer Robert Demachy felt separated the art of photography from the straight science of photography that you see in Eadweard Muybridge’s work ‘’A straight print may be beautiful, and it may prove upper abundantly that its author is an artist: but it cannot be a work of art.. a work of art must be transcription, not a copy of nature it must be subjective not objective’’[3] I feel as though this quote from Demachy...