The camera has offered us amazing possibilities, which we are only just beginning to exploit. The visual image has been expanded and even the modern lens is no longer tied to the narrow limits of our eye; no manual means of representation (pencil, brush, etc.,) is capable of arresting fragments of the world seen like this; it is equally impossible for manual means of creation to fix the quintessence of a movement, nor should we regard the ability of the lens to distort – the view from below, from above, the oblique view – as in any sense merely negative, for it provides an impartial approach, such as our eyes, tied as they are to the laws of association, do not give; and from any other point of view: the delicacy of the grey effects produces a sublimated value, the differentiation of which can transcend its own sphere of influence and even benefit colour composition. But when we have enumerated these uses we are still far from having exhausted the possibilities in this field. We are only beginning to exploit them; for although photography is already over a hundred years old it is only in recent years that the course of development has allowed us to see beyond the specific instance and recognize the creative consequences.