“If any one wants to convert an artist to photography, he should present him with some of Emerson’s pictures; but, whether with this object or otherwise, we earnestly recommend every photographer to obtain, and to study, Emerson’s books.”—Mr. W. J. Harrison in “The International Annual of Anthony’s Photographic Bulletin” for 1888.

Collectors and Librarians should take notice that all Dr. Emerson’s previously published Works are strictly limited to the numbers herein advertised. After the completion of the advertised editions all plates and blocks will be at once destroyed. Intending purchasers should therefore complete their sets as soon as possible, before the works become scarce and advance in price. These works can be obtained through any bookseller or from the publishers direct.

Size of Plate, 14¼ × 11 inches. India Proofs, mounted on plate paper, size 23½ × 17, limited to 150 copies. Price 10s. 6d. each.

Prints on plate paper, size 23½ × 17 inches, 7s. 6d. each. Limited to 1000 copies.

To be obtained of the Autotype Company, 74, New Oxford Street, London.

Illustrated with Forty Plates from Nature, mounted on plate paper, size 17 × 12 inches. Edition de luxe, limited to 100 copies, bound in vellum, with black and gold decorations, plates mounted on India paper, and text printed on finest white paper. Price £10 10s. Ordinary Edition, handsomely bound in cloth, plates mounted on finest plate paper, and text printed on fine white paper, limited to 750 copies. Price £6 6s.

This Work contains a valuable Essay on “Landscape,” including Photography, by the landscape painter T. F. Goodall, and should be studied by all Photographers.

“We feel grateful to Dr. Emerson and Mr. Goodall for a most fascinating volume. There is something singularly characteristic and attractive in the scenery of the Norfolk Broads, as there is much that is peculiar and picturesque in the manners of the primitive population.... The series of illustrations seem to embrace and exhaust the whole range of local subjects. We are taken through wildernesses of wood and water, throughthrough sedgy solitudes, haunted by shy waterfowl, along winding river-reaches with wherries under sail. We are landed in quaint nooks of that watery world, where the tumble-down cottage of the fisherman or the fowler hangs over the rushy creek; we see the lonely farmhouse, with its sedge-thatched and straggling outbuildings, standing somewhat apart between marsh and cloudland; or the sequestered hamlet huddled round the little church, with the rude spire which is a landmark for leagues along the water-ways. We are shown the amphibious people following their multifarious occupations, with their farming, and their fishing, and their strange fashions of fishing.... The set of landscapes which closeclose the volume are excellent as works of art, and they give an admirable idea of the somewhat melancholy charms of the scenery, when it does not happen to be lighted up by brilliant sunshine.”—The Times.

“Good wine needs no bush, and the Norfolk scenery needs no praise; but one may blamelessly sing in praise of good wine and the singing be but good, and write of or photograph Norfolk meritoriously. This Messrs. Emerson and Goodall have done, and done well, for which they deserve much thanks.”—Saturday Review.

“The life depicted in this charming series of photographs is still redolent of the past. The wide expanse of flowery pasture-land, the smooth and pellucid waters, the picturesque craft, and the hardy good-humoured Broadsmen with their nets and meaks, are admirably represented, while the descriptive letterpress will recall many of his own experiences to the reader familiar with East Anglian waters.”—Morning Post.

“Dr. Emerson has in this work applied the art of photography in so triumphant a manner, that the fitful breezes are clearly caught on the water, and seen playing amongst the heads of the reeds.... We can vouch for their wonderful fidelity to Nature. Nothing like it has ever been published.”—The Field.

“‘Life and Landscape on the Norfolk Broads’ is a book of unique artistic interest.... The prevailing tone of the pictures is restful and subdued. There is much of quiet cloudy sky and long evening light. And the general impression left by the illustrations, even when representing the characteristic industries of the Norfolk work-a-day world, is singularly free from anything approaching to hurry and turmoil. The claims of photography to rank among the true means of artistic production were never better exhibited than in this series of studies.... They leave no possible doubt of Dr. Emerson’s manipulatory skill, or of the tasteful discrimination of the fellow art-workers.”—The Globe.

“‘Life and Landscape on the Norfolk Broads’ is the name of a really beautiful book.... The text is descriptive, and pleasantly descriptive, of the scenes reproduced from nature.... We have seldom, perhaps never, seen such successful studies of landscape made by any mechanical process....”—Daily News.

“It is enough to know that they are exquisitely beautiful. It has sometimes been contended that photography is not art. That view has had to be modified. It has been shown that in the hands of artists photography can be used with admirable effect. If proof of this be required, it will be found in this volume. There is nothing of the wooden stiffness of the old photographs about the pictures.... Some of them might be reproductions in monochrome of Corot’s pictures. Light and shade are exquisitely managed. Every picture is arranged with the truest taste.... Then all the plates are redolent of the spirit of the scene.”—Scotsman.

“The volume of ‘Plates from Nature’ which Messrs. Emerson and Goodall have just published to illustrate ‘Life and Landscape on the Norfolk Broads’ is an extraordinary achievement in photography.... Messrs. Emerson and Goodall have now taken them up, and mirrored their river highways and their shy retreats alike with a uniform success, which must have been the result of extraordinary skill and patience.... The peasants and watermen gave, it is clear, much information about life on the Broads, which the authors have occasionally worked up into very interesting letterpress.”—Pall Mall Gazette.

“That beautiful series of forty plates, with their accompanying letterpress, illustrating ‘Life and Landscape on the Norfolk Broads,’ are an unanswerable refutation of those who say there is no art in photography. Mr. P. H. Emerson, B.A., and T. F. Goodall have been round the fens with camera and note-book to some purpose.... There is every quality in many of them of thoroughly good pictures.... No episode or incident seems to be inaccessible to these skilful artists.”—Daily Telegraph.

“They have studied the Broads in all seasons and in all aspects, in the full light of the cloudless summer mornings, and in the autumn evenings when the light grows dim, and the result is forty plates in platinotype, of great variety, of singular interest, and of remarkable beauty.... Both the authors of the illustrative text are accomplished writers, and their articles are of unusual merit.”—The School Board Chronicle.

“‘Life and Landscape on the Norfolk Broads’ is an epoch-making book because such perfection of photography, such perfection of reproductive processes, and such perfection of artistic feeling have never before been brought together.”—Amateur Photographer.

“Now and then in the past we have seen occasional photographs such as Dr. Emerson now presents, but to him is due the credit of endeavouring to form a real and truthful school of photographic representation.”—Photographic News.

“Thus we have fishermen and women engaged in all the phases of labour which the water-wastes of Norfolk afford, and all happily unconscious that they are standing for their portraits—none of them staring into the camera in ordinary photographic fashion, but all pursuing their avocations in an unaffected and natural manner. This is a rare excellence, which is deserving of all praise, and the value of the plates as truthful illustrations of the ordinary work and demeanour of the people is greatly enhanced by the judgment and skill manifested in this particular.... The letterpress which accompanies the plates is not the least entertaining part of the book.”—Manchester Guardian.

Being Twenty Plates in Photogravure reproduced from Dr. Emerson’s Original Negatives by Messrs. Dawson & Co., Boussod, Valadon & Co., Walker & Boutall, and the Autotype Co., together with an Introductory Essay on Photography and Pictorial Art. The Plates are enclosed in a handsome Portfolio. Edition de luxe, limited to 50 numbered copies, Plates on India paper, size 20 × 16 inches. Price £5 5s. Ordinary Edition, limited to 550 copies, with Plates on fine plate paper, same size. Price £3 3s.

N.B.—The Author reserves the right of publishing separately, on plain paper, any one of these Plates until the edition is completed, after that all plates will be destroyed.

“His compositions remind us more of paintings than of any mechanical reproductions of Nature. ‘Sunrise at Sea,’ 'The Barley Sele,‘ 'The Faggot-Cutters,’ 'At Plough,‘ 'A Winter’s Morning,’ and ‘The Mangold Harvest,’ are all well chosen and cleverly arranged compositions, and they show us that it is by no means so impossible to combine in photography the human figure and natural landscape, and to tell a simple pictorial story, as is commonly believed. We congratulate Mr. Emerson on this achievement; his work, at all events, deserves that praise which is due to those who try to raise the art to which they are devoted, and to carry it a step farther than is usually considered necessary. It is something to have carried photography a step farther in the direction of art, and Mr. Emerson is fairly entitled to claim this praise.”—Spectator.

“He has spoken, as well as taken, twenty original negatives, and has done both to good purpose. A man must have penetrated into the inner circle of the lives of our East Anglian peasantry before he could have the chance of witnessing some of the scenes which he so sympathetically represents.... Many will look at the beautiful series of plates in photogravure, and be charmed with the skill with which they have been manipulated. We find our highest pleasure in approving the carefulness with which the real types have been selected and the ‘environment’ made appropriate.”—The Field.

“Dr. Emerson’s very handsome folio of twenty plates of varied subjects, mostly found in the above county, is useful as showing what care in grouping, and tact and judgment in selecting points of view, will do towards producing effective pictures when the photographer combines the qualities referred to.”—Artist’s Record.

“Dr. Emerson ... has been the teacher of a new school of art photography and he has now a large following, many of whom are endeavouring to do work as good and true to the ‘school’ as the examples that are before us.... As a source of study for amateur photographers and as a drawing-room book we highly recommend ‘Life in Field and Fen’ to all our readers. As specimens of reproductions of photographs the plates are beyond praise, and the book is beautifully printed and got up in a most artistic manner.”—Amateur Photographer.

“How far photography can go is well shown in this carefully prepared defence of it as an art.”—AthenÆum.

“When we say that Dr. Emerson has so used his camera as to truly represent Nature, we say the highest.... Having with rare judgment steered clear of doubtful and, to the camera, impossible subjects, Dr. Emerson has given us some delightful photographic pictures, which not only represent, but also interpret Nature.... Dr. Emerson evidently intends to form a school in photography, and has resolved to show photography at its best.”—Photographic News.

“Dr. Emerson, the producer of this fine portfolio of photogravures, represents to some extent a new effort to get home once more to Nature, and he enters into the battle as a photographer.... His seascapes are exquisite.... ‘A Suffolk Dyke’ (a charming study of river and Suffolk fen) and ‘Breydon Water,’ sea-fog coming up (a sweet picture, full of all the feeling of the place).... The work is of a very choice character.”—School Board Chronicle.

“Exquisite photographs exquisitely reproduced.”—Pall Mall Gazette.

“They are in themselves of artistic merit as regards grouping and selection. Some of them, such as ‘The Poacher’ and the ‘Dame’s School,’ are distinctly dramatic, and they are produced with much care and nicety by the automatic etching process.”—Daily Telegraph.

“It is marvellous how completely Dr. Emerson appears to have mastered the difficulties which have attended the use of the camera. No painter could have produced anything more charmingly true to Nature, more suggestive of real life and interest, than many of the pictures in this volume. They are admirably taken, with a carefulness in regard to light and shade that has rarely been approached.”—The Scotsman.

Size of Plate, 22½ × 17½ inches, taken direct.

India Prints on paper, 34 × 26 inches, limited to 100 copies. Price 15s. a copy.

Prints on fine plate paper, size 34 × 26, limited to 400 copies. Price 10s. a copy.

After the advertised number has been pulled, the plate will be destroyed.

“We have received ... a very beautiful reproduction of a picture by P. H. Emerson, which is a triumph both for photographer and process.... There is much poetical feeling in the grouping.... The general tone of the picture is a subdued red, and gives one the idea of summer twilight.”—The Camera.

“We have here a magnificent plate.”—Photographic News.

“From the Typographic Etching Company we have a reproduction of a landscape by P. H. Emerson ... by a process ... possessing decided individuality and capable of effect of light and atmosphere which the present example shows may be suggestive and pleasing. Here the figures of the labourers and the laden wain are realized with considerable fidelity to the conditions of light and air that constitute a vague glimmering environment. The charm of tranquillity that belongs to mild diffused light and spacious windless atmosphere can scarcely have suffered by translation in this instance.”—Saturday Review.

“Whether in composition or general treatment it is a picture of which the artist may justly feelfeel proud.”—British Journal of Photography.

“We have received a large plate of a beautiful meadow scene also photographed by Mr. Emerson. It is indeed a June idyl of the marshes, with the women in picturesque attire piling upon a hay waggon the sweet-scented grasses for transport to the neighbouring stackyard.”—Scotsman.

“It is most certainly a splendid production, though its beauties do not dawn upon one at the first glance, yet after a little contemplation we must confess that it is one of the best examples of photogravure we have ever seen.”—Photographers' World.

A Series of Twelve Plates, depicting Pastoral Life in East Anglia, reproduced in Autogravure from Original Negatives, with accompanying descriptive Notes, by the Author, P. H. Emerson, B.A., M.B. (Cantab.).

Numbered Proofs printed on India and Plate paper, outside size 17 × 13 inches, in gold-lettered portfolio. Price £1 11s. 6d.

The issue of these proofs is limited to 150.

Prints on Plate paper, outside size 17 × 13 inches, in lettered portfolio. Price £1 1s.

The issue of these Prints is limited to 600 copies.

“It contains a dozen exquisite studies of the Broads and their borders, reproduced by their well-known delicate process of autogravure. These pictures are selected with true artistic feeling, and in almost every case they have ‘composed’ as perfectly as though they were arranged at will and not by Nature. There is but one word which fitly indicates their merit, and that is one borrowed from their title—idyllic.”—Land and Water.

“In a handsome, delicate portfolio, in white and gold, in choice and luxurious form, are presented a dozen deeply mounted autogravure plates, on India paper, from photographic negatives. They are loving studies of beloved aspects and incidents in the land of the famous Broads, in every season of the year and in various phases of the quiet life of that country. Mr. Emerson’s text, printed on fine old English rough quarto paper, poetically descriptive of the country and of the scenes of the pictures, makes beautiful bits of writing.”—School Board Chronicle.

“In ‘Idyls of the Norfolk Broads’ Mr. P. H. Emerson still further adds to our knowledge of the pastoral life and landscape of the English Fens. He is in love with the country—he calls it an earthly paradise; and never did lover sing the praises of his mistress with more enthusiasm than does Mr. Emerson the distinctive beauties of this land of mists and marshes and sweet-scented meadows, with its industrious and homely people.... The scenes have been selected with an artist’s eye, and are reproduced in really a delightful manner—two especially are very pleasing—‘Flowers of the Mere,’ in which we have the head of a charming little village maiden, and ‘A Grey Day Pastoral,’ the silvery tones of which have at least been suggested in black and white. Accompanying each plate is a concise, well-written description of the scenery depicted.”—Scotsman.

“The present volume of proofs on India paper, reproducing original negatives by the autotype process, presents some of the most charming and characteristic types of East Anglian life and scenery.”—Daily Telegraph.

“That Mr. Emerson is an enthusiastic lover of the Norfolk Broads is very evident. To him East Norfolk is an earthly paradise, replete with all the elements that conduce to poetry and art. Of these the former finds an outcome in the descriptive letterpress, and the latter in twelve photographs, which illustrate one or other phases of life or nature in these broads....

“These pictures are, in most cases, full of feeling. In technical merit ‘The Windmill’ excels. It is a very charming little picture, about four inches square, representing a windmill standing close by a stream, boats lying at repose alongside. The engraving, printing, and general get-up are of a high order of merit.”—British Journal of Photography.

“Mr. Emerson gives a poetic account, almost with the loving fervour of Virgil, of the beauties that he so much feels.... Altogether Mr. Emerson has in this last series done an excellent thing, and should the time come when photographers in general do similarly, artists will not speak of photography as they very often do at present.”—Photographic News.

“On the whole, the series is representative of the district of which Mr. Emerson writes with the knowledge that comes of enthusiastic study. ‘The Mill,’ ‘The Haysel’ and the marshy pasture. No. 3, are charming pictures. ‘A Grey Day Pastoral’ is a pleasing example of the cool, moist, and luminous effect of mild diffused light under a thin veiled sky. Mr. Emerson’s text is pleasant reading.”—Saturday Review.

“Mr. Emerson is well known as the producer of some of our most artistic photographs and these ‘Idyls’ cannot fail to increase his reputation.... Each one is a delightful study.... The composition in each case is admirable, and they are printed in a manner which shows advance in photographic art.”—Artist.

“This is truly a book for the drawing-room table. The introductory matter, as well as the descriptive text, give proof that Mr. Emerson is as successful a worker with pen as with sun-pencil, for the matter is full of poetic touches which only a true lover of Nature would be capable of, and which few could express in such a charming manner.”—The Camera.

Illustrated with Thirty-two Photogravures and Fifteen smaller Illustrations. The text, divided into twenty-six chapters, treats of the East Anglian peasantry, and is full of interesting information of the habits and customs of the peasantry and fisherfolk, of their ghost stories, witchcraft, and of natural history, poaching, &c.

The Edition de luxe, size 20 × 16 inches, is handsomely bound in vellum, with green morocco back, and black and gold decorations. The text is printed on best English hand-made paper; the small Illustrations, as well as the larger ones, are printed on India. This sumptuous Edition is limited to 75 numbered copies. Price £7 7s. a copy.

The Ordinary Edition is strongly bound in cloth and leather. The Plates are printed on best plate paper, and the text is printed on best white paper. This Edition is strictly limited to 500 copies. Price £5 5s. a copy.

(Sampson Low & Co., Ld., St. Dunstan’s House, Fetter Lane, E.C.)

“It is a monograph, pictorial and literary, on the Suffolk peasantry and fisherfolk—a natural history of one of the most interesting of English race-types.... Hedger and ploughman, fisher and boor, as they are pictured in these exquisite engravings, they have a not too remote resemblance to the melancholy peasant of Millet.... The author has something of his eye for the bovine-human type, for the fine artistic gloom of life and mind of the fields.”—Daily News (Leader).

“After a hasty glance at Mr. P. H. Emerson’s handsome large quarto volume ... one is disposed to characterize it as the prose of Dr. Jessop’s ‘Arcady.’ On better acquaintance, we see that there is in Mr. Emerson’s book also a great deal of the poetry of real life. We ... claim that in ordinary village ways as sketched by Mr. Emerson, and in village character, hard and uninviting as it seems to the outsider, there is poetry' enough.... He has plenty of quiet humour.... Of some of the plates, which form such a feature in this volume, it is impossible to speak too highly.”—The Graphic.

“It might almost be said to be descriptive by anecdote, of which the author seems to have a rare store, on every aspect of the subject with which he deals. His book is undoubtedly ... ‘a contribution to a natural history of the English peasantry and fisherfolk.’... In this series of East Anglian books Mr. Emerson has distinctly elevated landscape photography. His scenes are selected with the eye of a true artist.... To a certain extent Mr. Emerson may be said in these pictures to have done for the peasantry of East Anglia what Jean FranÇois Millet did for those of his own country.”—Scotsman.

“In ‘A Stiff Pull’ and ‘In the Barley Harvest,’ both capital subjects, capitally treated, he has been successful enough to make us wish that Millet had painted in Suffolk instead of at and about Chailly-en-BiÈre. In another plate, ‘The Farm by the Broad,’ he contrives to give us something of the effect of ... a Corot. In ... ‘Going Out’ and ... ‘Coming Ashore’ he reminds us a little of Mesdag; in other plates ... of the followers of Bastien Le Page.”—Saturday Review.

“The volume may be taken, therefore, as representing pretty completely the present state of the art of photo-engraving in England.... Mr. Emerson is to be congratulated on having brought distant East Anglia and its people before us with a completeness that has not been attempted with any other considerable portion of the British Islands.”—Manchester Guardian.

“The tales and interesting folk-lore are simply and pleasantly told. The philologist will find in these pages many fresh words and expressions; the artist and naturalist many curious and novel observations.... The book is a valuable addition to the natural history of the English peasantry and fisherfolk.”—Daily Telegraph.

“Dr. Emerson’s new book is one which no county family’s library in Suffolk should be without.... Dr. Emerson has studied the Suffolk peasantry with conscientious thoroughness and approached his subject with sincere sympathy for the hardness of their life.”—Pall Mall Gazette.

“All who have felt the peculiar attraction of East Anglian scenery are grateful to Dr. P. H. Emerson for his splendid photogravures.... This splendidly got-up folio is an important work, reflecting high credit on all concerned in its production. We hope Dr. Emerson will not allow his camera to lie idle.... Dr. Emerson has been a close observer of their character and intelligence, and has much that is curious to say.”—Westminster Review.

“We have, in short, a delightful history of the inner life of the Norfolk and Suffolk peasant, and of the things dear to him, illustrated by such a series of truthful nature-pictures as is approximated to in no other work of which we know, unless in Dr. Emerson’s earlier series.”—Photographic News.

“Mr. P. H. Emerson has produced a really valuable book. His text, descriptive of the life, superstitions, and character of Suffolk peasantry and fisherfolk, their stories of the land and stories of the sea, are all of the greatest interest, and in many cases have the merit due to original inquiry and research.... Mr. Emerson, one of the foremost, and in some respects one of the most successful, of living photographers, has illustrated his large work with thirty-two photogravures ... the full page plates are often of the highest merit. ‘The Clay Mill,’ and especially ‘The Haymaker with Rake,’ are so good in tone that they almost suggest the work of Millet. ‘Where winds the Dike,’ reminds the spectator of Corot.”—Magazine of Art.

“This book is handsomely got up, well-bound, finely printed, and copiously illustrated.... His text is thoroughly well worth reading on account of ... its sardonic sense of humour, keen zest for the grotesque provincialisms of the people of out-of-the-way districts, quick ear for laughable oddities of pronunciation, quick eyes for old-world customs and whimsicalities, and deep sympathy with the sufferings of the poor and helpless.... There are, too, many quaint anecdotes.”—AthenÆum.

“Dr. Emerson gives us not only a mass of valuable and interesting letterpress, but a collection of very remarkable photo-engravings. By no one has photography been more diligently and more successfully applied to illustrate not country scenes only, but country life.... His pictures never look like compositions—indeed, he is as successful with some of his groups as with mere landscapes.... The letterpress ... proving on every page that he has not only lived among the people whom he describes, but that he is quite in touch with them.... Dr. Emerson is a keen observer of men as well as of nature.... He is for the most part thoroughly reasonable.... I am grateful to him, for I have learnt much from his book, and have been put in the way of (I hope) learning much more.”—Academy.

“Nothing could well be better selected or executed than are the photogravures, and even the small illustrations of the book. In these he has caught ‘the very form and spirit of the times’ in East Anglia.... His landscapes ... recall Constable’s pictures.”—Field.

“This is a delightful book ... indeed, no one can study the illustrations and read the accompanying text without becoming imbued with the author’s enthusiasm, and without feeling that he has gained an entirely new insight into the character and surroundings of the English peasant. So artistic are the illustrations, with their Corot-like softness of outline, that in future no book that deals with an unfamiliar country will seem complete without such aids.... There should be, and no doubt there will be, books such as this about every corner of the globe, and Mr. Emerson is to be thanked for setting the example.”—New York “Nation.”

“In the work just issued, that the author endeavours himself to look directly at his subject without feeling himself bound by what others have said, constitutes the chief charm, and the reader soon finds he is not in contact with an author who is either an echo of others, or wishes to make his readers mere echoes of himself; indeed, the reader soon finds that his teacher is not one who expects and strives to mould his readers to his own image, but one who hopes to rather readread them to think and act for themselves. If our author’s spirit was more current among the technical teachers of our day, we would probably be in a more hopeful condition as regards future progress in the arts and crafts. The literary style of the work is excellent, and it contains a fund of useful information conveyed in a pleasant manner.... The mass of the book is composed of valuable and thoughtful essays on the various branches of photographic work—both from the technical and the artistic aspects—embodying the author’s own experience. Altogether ‘Naturalistic Photography’ is a work which should be possessed and read by every one interested in the practice of Photography.”—Photographic News.

“Suffice it to say that the book is distinctive from any other book on photography, and there is reading worth study on every page. We have been so fascinated by the freshness of language and the forcible way in which the author endeavours to bowl over old ideas and institute new ones, that we have had a difficulty at times in laying aside the admirably printed and got-up volume. We can only say that we heartily commend it to all who are interested in artistic photography, and who are not above learning from a master in the subject.”—Photographic Journal.

“When he comes to the part that really concerns photographers he is simply admirable ... his boldness and originality of treatment, the ability with which he analyzes, arranges, and treats his subject, and his practical conclusions, are as charming as they are valuable, as pleasant to read as they will be useful to practise.... The latter part of the book on technique and practice is capital, and ought to meet with acceptance, and must be valuable to the photographic world.... Carefully thought out, ably written, boldly expressed, original in treatment, ‘Naturalistic Photography’ is a valuable contribution to our literature.”—Photography.

“Dr. Emerson’s book has come at last. It was well worth waiting for, and fully justifies expectations.... It has evidently already helped a considerable number of photographers to ideas.... The general acceptance of evolution principles, thought freed from trammels, and the adoption of scientific methods, tend to give us treatises in which a rational and natural basis for all phenomena is sought. Dr. Emerson’s book is distinctly of this class.... It is brimful of interest, and will furnish texts for art argument for some time to come, as well as afford solid instruction for the earnest student.”—Camera Club Journal.

“C'est un volume À lire, je dirai mÊme À relire, car le Dr. P. H. Emerson Émet des idÉes qui lui sont tellement personnelles, qui souvent contredisent si fort les idÉes gÉnÉralement reÇues, qu’il faut s’y reprendre À deux fois pour bien se rendre compte de sa maniÈre toute nouvelle d’apprÉcier l’art photographique.... Il se compose d’une introduction, dans laquelle nous trouvons tout d’abord la preuve de l’originalitÉ des idÉes de l’auteur, &c.... On le voit, le sujet est traitÉ dans tous ses dÉtails, et ajoutons qu’il est traitÉ d’une faÇon trÈs intÉressante.... Il taut reconnaÎtre que la lecture de ce volume s’impose non seulement À ceux qui s’occupent de photographie, mais À tous ceux qui s’occupent de l'Étude des beaux-arts.”—Journal de l'Industrie Photographique.

“It is enough to say that we have read this beautifully got-up book with interest, and consider the opinions and many doctrines of the author very remarkable; and finally we can in good faith recommend the book.”—(Translation of part of review in the) Deutsche Photographen-Zeitung.

“A most enjoyable book to every true lover of nature.... Erudite, embracing a very large field ... this work must claim the careful attention of an earnest student ... the ordinary textbook of photography is superseded, and technique and practice is dealt with in a thorough and somewhat original manner ... the reader will find much which will be well worth careful study.”—Photographic Art Journal.

“‘Naturalistic Photography’ is a splendid contribution to photographic literature.”

“This book is highly to be recommended to those acquainted with the English language.”

“Cet ouvrage si bien ÉtudiÉ sera lu avec grand fruit par les photographes amateurs, surtout auxquels il est destinÉ, car ils y trouveront les conseils pratiques dont ils tireront profit, soit dans 'atelier, soit dans les Études en plein air.”—L'Amateur Photographe.

“The practical part of Dr. Emerson’s book is most admirable.... Dr. Emerson has produced some of the most superb work ever achieved by photography, and all who have admired his beautiful compositions are anxious to know his methods. He treats the subject in a clear and forcible way, and with much originality.... One reads and reads again with pleasure from page to page, and is often delighted with the novelty of presentation. The great virtue of Dr. Emerson’s book is its freshness. The reader is not wearied with reiteration of old hackneyed ideas and misapplication of stereotyped rules. It is a record of the author’s own opinions.”

“This book contains a greater amount of information on the artistic elements to be considered in photography than any that we know of. The author ... has elucidated very concisely, yet also very fully, the principles which should be kept in view in making artistic and attractive photographs.... In these days of amateur photography, when the mechanical and chemical manipulations necessary to obtain a good photograph are so easily acquired, a book like this, calling attention in simple language to the elementary conditions that should be observed in making artistic photographs, will be greatly appreciated.”—Scientific American.

“Da Londra, coi tipi Sampson Low & Co., ci giunge una recentissima pubblicazione del Sig. Emerson, col tito ‘Naturalistic Photography,’ essolutamente originale ed interessante. L'autore si rivela per un artista intelligentissimo della fotografia e facendone la critica con sicurezza di giudizio e con esempii tratti, nella parte estetica, dai gran di maestri.”