Photography when used as a representational art is not a mere copy of nature. This is proved by the rarity of the “good” photograph. Only now and then does one find really “good” photographs among the millions which appear in illustrated papers and books. What is remarkable in this end at the same time serves as a proof is that (after a fairly long visual culture) we always infallibly and with sure instinct discover the “good” photos, quite apart from the novelty or unfamiliarity of the thematic content.