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diff --git a/28023-0.txt b/28023-0.txt new file mode 100644 index 0000000..0c51b84 --- /dev/null +++ b/28023-0.txt @@ -0,0 +1,1904 @@ +The Project Gutenberg EBook of Pictorial Photography in America 1921 by +Pictorial Photographers of America + + + +This eBook is for the use of anyone anywhere at no cost and with almost no +restrictions whatsoever. You may copy it, give it away or re-use it under +the terms of the Project Gutenberg License included with this eBook or +online at http://www.gutenberg.org/license + + + +Title: Pictorial Photography in America 1921 + +Author: Pictorial Photographers of America + +Release Date: February 8, 2009 [Ebook #28023] + +Language: English + +Character set encoding: UTF-8 + + +***START OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1921*** + + + + + +Pictorial Photography in America 1921 + + + + + + + + + + + + + +Pictorial Photographers of America + +New York + +1921 + + + + + +_Editorial Board_ +CLARENCE H. WHITE +HENRY HOYT MOORE +DWIGHT A. DAVIS +JOHN PAUL EDWARDS + +_Committee on Publication_ +HENRY HOYT MOORE +WALTER L. EHRICH +RAY GREENLEAF +JOHN A. TENNANT + + + + + +ILLUSTRATIONS + + +THE HAMPTON SINGER +_By _DOROTHY ABBOTT, _New York City_ +THE ARCH OF JEWELS, NEW YORK CITY +_By _WILLIAM A. ALCOCK, _New York City_ +WILLOW VALLEY +_By _CHARLES K. ARCHER, _Pittsburgh, Pa._ +PRAYERS OF BUDDHA +_By _F. BAUER, _San Francisco, Cal._ +THE SWANS +_By _JESSE TARBOX BEALS, _New York City_ +ABOVE THE CLOUDS +_By _CLARK BLICKENSDERFER, _Denver, Colo._ +GRAMERCY PARK +_By _MARY F. BOYD, _Chambersburg, Pa._ +HILL TOP—WINTER +_By _GEORGE BUTLER, _Worcester, Mass._ +WEISSTHURM—ROTENBURG O. TAUBER +_By _A. D. CHAFFEE, _New York City_ +CABLES +_By _ARTHUR D. CHAPMAN, _West Hoboken, N.J._ +BOOKPLATE +_By _ALFRED COHN, _Brooklyn, N.Y._ +THE BUGLE CALL +_By _DWIGHT A. DAVIS, _Worcester, Mass._ +THE BRIDGE +_By _JOHN PAUL EDWARDS, _Sacramento, California_ +MY FATHER +_By _VERNON E. DUROE, _Brooklyn, N.Y._ +MAIDS O’ THE MIST +_By _MR. AND MRS. J. D. DREW, _Montclair, N.J._ +AFTERNOON TEA +_By _ELEANOR C. ERVING, _Albany, N.Y._ +SUMMER PORTRAIT +_By _LAURA GILPIN, _Colorado Springs, Colo._ +SUNLIGHT—TAOS +_By _FORMAN HANNA, _Globe, Arizona_ +DICK’S STALL +_By _G. W. HARTING, _New York City_ +BETH-EL +_By _EDWARD HEIM, _New York City_ +THE TOILERS +_By _EUGENE P. HENRY, _Brooklyn, N.Y._ +ARCHES OF THE MUNICIPAL BUILDING +_By _ATOINETTE B. HERVEY, _New York City_ +MORNING—PLYMOUTH +_By _LILLIAN M. HOBART, _Northborough, Mass._ +LAST OF THE SQUARE RIGGERS +_By _G. BUELL AND HEBE HOLLISTER, _Corning, N.Y._ +WAR VETERANS +_By _MILLIE HOOPS, _New York City_ +STILL LIFE +_By _D. S. HORNE, _Princeton, N.J._ +THE SUNSHINE OF JOHNNIE’S SMILE +_By _ROBERTA HOSTETLER, _Davenport, Iowa_ +SUN DRYING +_By _H. A. HUSSEY, _Berkeley, Cal._ +PORTRAIT +_By _DORIS U. JAEGER, _New York City_ +THE PIPES OF PAN +_By _MYERS R. JONES, _Brooklyn, N.Y._ +IN AN ITALIAN VILLAGE +_By _H. A. LATIMER, _Boston, Mass._ +CROW’S NEST RESTAURANT +_By _SOPHIE L. LAUFFER, _Brooklyn, N.Y._ +THE QUARRY +_By _GEORGE P. LESTER, _Bloomfield, N. J._ +DETAIL OF CALIFORNIA BUILDING +_By _FLORENCE BURTON LIVINGSTON, _Mohegan Lake, N.Y._ +SUNBEAMS +_By _BEN J. LUBSCHEZ, _New York City_ +ALONG THE CANAL +_By _WILLIAM ELBERT MACNAUGHTON, _Brooklyn, N.Y._ +SPRING +_By _HOLMES I. METTEE, Arlington, Md. +SYMPATHY +_By _HERVEY W. MINNS, _Kenmore, Ohio_ +THE MEADOW +_By _ROBERT B. MONTGOMERY, _Brooklyn, N.Y._ +THE RAILWAY STATION +_By _HENRY HOYT MOORE, _Brooklyn, N.Y._ +CULTIVATING +_By _L. POKRAS, _Brooklyn, N. Y._ +PORTRAIT—MISS F. +_By _ARTHUR RACICOT, _Quantico, Va._ +TO THE UNKNOWN SHORE +_By _LAWRENCE C. RANDALL, _Columbus, Ohio_ +THE EAST RIVER +_By _D. J. RUZICKA, _New York City_ +CLOSING OF AN AUTUMN DAY +_By _J. G. SARVENT, _Kansas City, Mo._ +THE VANISHING ROAD +_By _OTTO C. SHULTE, _San Francisco, Cal._ +THE HOUR OF TWILIGHT +_By _WILLIAM GORDON SHIELDS, _New York City_ +A SONG +_By _GUY SPENCER, _New York City_ +OPEN-AIR PULPIT, GRACE CHURCH +_By _ELIZABETH G. STOLTZ, _Marion, Ohio_ +L’ENTRE’ACTE +_By _MANKICHI SUGIMOTO, _New York City_ +FARMYARD +_By _GEORGE P. SWAIN, _East Orange, N.J._ +CARLOTTA +_By _LACY VAN WAGENEN, _Orange, N.J._ +MRS. PICKFORD +_By _MABEL WATSON, _Pasadena, California_ +THE LITTLE ART SHOP—WOODSTOCK +_By _ANTHONY J. WEIS, _New York City_ +THE DANCE +_By _DELIGHT WESTON, _Blue Hill, Maine_ +SISTERS +_By _CLARENCE H. WHITE, _New York City_ +SAND DUNE +_By _MILDRED RUTH WILSON, _Flushing, Long Island_ +Advertisement: Pinkham and Smith Company +Advertisement: Eastman Kodak Company +Advertisement: Ansco Company +Advertisement: Ica-Contessa +Advertisements: Kalogen; Willis and Clements +Advertisements: Japan Paper Company; George Murphy, Inc. +Advertisements: Fred’k W. Keasbey, Abe Cohen’s Exchange +Advertisements: Wollensack Optical Company; Willoughby’s + + + + + +CONTENTS + + +PAINTING WITH LIGHT +THE YEAR’S PROGRESS +HOW WE MAKE OUR PHOTOGRAPHS + + + + + +PAINTING WITH LIGHT + + +_By _ARTHUR WESLEY DOW +_Professor of Fine Arts in Teachers College, Columbia University_ + +The painter need not always paint with brushes, he can paint with light +itself. Modern photography has brought light under control and made it as +truly art-material as pigment or clay. The old etchers turned chemical +action to the service of Art. The modern photographer does the same, +using the mysterious forces of nature as agents in making his thoughts +visible. It’s a long story of effort and experiment since someone +observed that an inverted landscape on the wall of a darkened room was +painted by light coming through a hole in a shutter. The shutter and the +dark room are still acting, but now we can hold the fleeting vision. +While we rejoice in the triumph of Science it is the triumph of Art that +concerns us most. The photographer has demonstrated that his work need +not be mechanical imitation. He can control the quality of his lines, the +spacing of his masses, the depth of his tones and the harmony of his +gradations. He can eliminate detail, keeping only the significant. More +than this, he can reveal the secrets of personality. What is this but +Art? + +Just here we must remember that neither light, nor chemicals, nor camera, +nor nature tell us anything of Art—that Art is not the child of Knowledge +or Science or Nature, but is born of trained Appreciation in the soul of +man. He that would paint with light must be first of all a Designer. His +chief concern will be to find and use his own powers of choice and +appreciation. He will need the studio more than the laboratory. + +“What is Design?” Ask Korin, Hiroshige, Giotto, Rembrandt, Titian; ask the +master-photographers who can build harmonies of line and space and +texture. But the secret is not revealed by asking, only by DOING. + + + + + +THE YEAR’S PROGRESS + + +_By _CLARENCE H. WHITE + + + _An Interview with Henry Hoyt Moore_ + + +“What notable events, Mr. White, have occurred in the photographic world +during the year 1920?” + +“Perhaps no outstanding event, either on the art side or the scientific +aspect of photography, has marked the year. A steady progress, however, +in the direction of a better appreciation of photographic art is apparent. +This is seen, for one thing, in the numerous exhibitions that have been +held. Confining our attention to American exhibitions, I would remark +that instead of, as in former years, having one big exhibition in +Baltimore or Philadelphia or some other city, there are now active centers +all over the country—there is a regularly established international salon +in Los Angeles, and the well-known Pittsburgh Salon, and regularly +established exhibitions in Portland and Toronto. There are groups of +enthusiastic workers in all these centers. There are also exhibitions of +photographic art regularly held in many of the museums of the country.” + + + + + AMERICAN PHOTOGRAPHERS SET THE PACE + + +“I once heard a well-known photographic worker say, ‘If you have any doubt +as to the pictorial quality of a photograph, send it to the London Salon +and their judgment will decide for you.’ Is this still true?” + +“I still feel that the American photographers set the pace, and in this +connection I would like to read you this letter from the Secretary of the +Royal Photographic Society of Great Britain as indicating the appreciation +in England of American pictorial work: + + + + 35 Russell Square, London, September, 1920. + + I am happy to say that we have received from the United States and + Canada a collection of pictorial photographs of such outstanding + interest that the task of discrimination became one of great + difficulty. + + Those selected by the judges have been placed in the exhibition, + but the Council of the Society feel that it would be most + unfortunate if the collection generally could not be viewed by the + English public, and it is proposed that the bulk of the American + and Canadian pictures, including those shown at the Annual + Exhibition, should form one of our house exhibitions and be open + to the public during the last part of January and the beginning of + February, 1921. + + J. MCINTOSH, _Secretary_ + + + + + THE SOFT FOCUS LENS + + +“What changes in the past twenty years, Mr. White, would you say have been +most noticeable in photographic work?” + +“Well, I would say the most noticeable is what we call the use of the soft +focus lens. Secondly, I would say another noticeable change is the better +general quality of photographic work. I feel that the photographers of +today have a better idea of picture construction.” + +“Would you say that one of the changes in the past twenty years is in the +spreading of a knowledge of pictorial photography throughout the country?” + +“Very definitely so. The interest in pictorial photography twenty years +ago was confined to a small group. There are now groups in various +centers as large as the national group of the early days.” + + + + + NO ONE LENS IS SUFFICIENT + + +“Getting down to a practical question for a moment, Mr. White, do you +recommend a soft focus lens for small cameras, the work to be enlarged +with a sharp lens, or do you recommend the reverse process?” + +“I still keep to my original statement that I made two or three years ago +that I do not believe that any one lens will serve all purposes. I +sometimes feel that an anastigmat lens is best and sometimes that a soft +focus lens is best for some particular work, and sometimes I feel that if +I could get only one I would prefer an anastigmat to a soft focus.” + + + + + SOFTNESS DESIRABLE, NOT FUZZINESS + + +“Is there a tendency, as shown in the work seen in the magazines, the +exhibitions, and the photographs selected for the present _Annual_, to get +rid of fuzziness and substitute a rational degree of softness and +atmospheric effect?” + +“I would say that the reproductions that we see in the magazines do not in +all cases represent lens work but, I fear, bad printing sometimes. There +is often a good definite quality in soft focus lens work that looks very +definite indeed, even more definite than a sharp lens will give. +Fuzziness is bad, but not softness. The soft focus lens seems to be more +popular than ever and it apparently has come to stay.” + + + + + PROFESSIONAL PHOTOGRAPHY INFLUENCED BY THAT OF THE PICTORIALIST + + +“Has the professional photography of today been influenced, in your +judgment, by the work of the pictorialists?” + +“Yes, very decidedly, and the professionals confess it. The best +professional photographers freely admit that they have drawn much +inspiration from the pictorial workers’ ideas.” + + + + + THE POPULAR MEDIUMS + + +“What medium—gum, multiple gum, bromoil, platinum, bromide, chloride—is +most popular today?” + +“Bromide and chloride are the most popular. That this is so is probably +because they are easier to use; but there are very earnest workers—some of +the best—who insist on using the processes which give a greater range and +greater possibilities of quality, such as bromoil, gum, and gum platinum. +I would say that these processes are more popular than they used to be.” + + + + + COLOR PHOTOGRAPHY + + +“Has color photography made any advance during the year? Are autochromes +still popular? Has any progress been made in the direction of producing +color photography on paper?” + +“I do not know of any special progress in this branch of the art. Color +photography on paper has been worked out successfully by Mr. Ives, and I +think the difficulty in obtaining materials has temporarily affected the +popularity of color photography in this country.” + +“Is the color process used to any extent for portraiture in the United +States?” + +“I do not think it is used to any great extent, but I believe that it has +great possibilities and that it can be used if workers will take the +necessary care and pains. I think the difficulty of getting material +recently has set things back along this line.” + + + + + THE “SECRET” IS THE ARTIST + + +“Have the so-called pictorial photographers any ‘secrets?’ People often +ask, ‘How are these effects produced?’ What is the best method of +producing soft, atmospheric pictures? Can a skilled worker take an +ordinary hard negative and, by suitable manipulation or the use of soft +paper, produce an atmospheric print? Is the medium the secret? Will one +paper or developer produce soot and whitewash effects and another a +picture? Are soft effects generally produced by manipulation in +developing negatives or prints?” + +“I believe the quality of a picture is not due to the medium by which it +was made. It depends entirely on the man who made it. I think one man +can make a good print on soft paper and another a good print on hard +paper. I do not think the medium makes the picture. I think the medium +produces the picture to some extent, but it does not make the picture.” + + + + + HAND WORK VS. STRAIGHT PRINTS + + +“What are the limits of hand work that are legitimate in photography? I +don’t like to use the word faking, but most people would so describe it. +I mean, for instance, putting in skies, blocking out obtrusive +backgrounds, sunning down high lights, retouching negatives, printing +through prepared masks that entirely alter the negative, and pencil or air +brush work on prints?” + +“I do not have any objection to anybody using any methods that he pleases +providing that the result is convincing; and I believe that practically +every one of these means has been used successfully, in making pictures. +On the other hand, some of the best and probably more good pictures have +been produced by not using any of them—that is, by making the picture +straight.” + + + + + COMMERCIAL POSSIBILITIES FOR PICTORIAL WORK + + +“Are there commercial possibilities at present for pictorial +photographers? Has the public shown an increasing desire to buy soft +focus pictures? Is there a demand on the part of magazines and newspapers +for pictorial work?” + +“There is a very definite demand on the part of both magazines and +newspapers for soft focus pictures. In fact, sometimes the art editors, +in their eagerness to get soft focus work, will buy a photograph because +it is fuzzy, without regard to its quality. But the outlook for the +pictorial worker in its financial possibilities is steadily improving.” + + + + + AIRPLANE PHOTOGRAPHY + + +“Has any pictorial work been done in connection with airplane photography? +Is the apparatus for this sort of work too expensive for anything besides +military or movie use?” + +“At present I do not know personally of any pictorial work being done in +this direction, but I have seen reproductions in newspapers of pictures +from airplanes that show most interesting results. Airplane photographers +as a rule do not as yet put into their work a marked pictorial quality.” + + + + + ELABORATE APPARATUS NOT ALWAYS NECESSARY + + +“Have any notable inventions marked the year? Is the photostat coming +into use and has it any value other than commercial? Do you recommend one +of the new high-priced enlarging cameras, which focus the lens +automatically on any size of paper, as suitable for clubs to purchase?” + +“Well, I must confess that I have only heard of it, and the price seems to +be such as to discourage almost all the pictorial workers that I know. In +my observation of the work that has been done by pictorialists, the very +fact that in many instances they use makeshift apparatus has resulted in +some of the most beautiful effects in their work. Good apparatus is of +course desirable, but there are happy accidents with the other sort. It +is the workman, not his tools, that counts. Get the best tools if you can +afford them, but remember that you can make just as bad pictures with an +expensive outfit as you can with the cheapest.” + + + + + HOW MR. WHITE JUDGES A PHOTOGRAPH + + +“Many persons would like to know, Mr. White, what are the criteria used by +advanced workers like yourself in judging a photograph. Do you allow so +many points for composition, for technique, for originality of conception, +or for success in a difficult medium? Or do you say, ‘That picture +pleases me, and I vote for it,’ without attempting to state in +mathematical form the qualities of its success as a picture?” + +“I would say that the first thing a man should do in judging pictures is +to answer the appeal of the picture. I think a picture should have a +message—that is, it should convey, not necessarily a story, but something +of the feeling of the man who produced it. This is really a difficult +question to answer. I would say, ‘That picture pleases me and I vote for +it.’ That is to say, so many points for technique and so many points for +pictorial quality would mean nothing to me. I would insist that a picture +have an appeal, and then that it have good construction, and it should +have quality. The printing medium, as I have said, doesn’t make the +picture, but the man who uses it.” + + + + + MOTION PICTURES AND THE SOFT FOCUS LENS + + +“Probably photography’s greatest activity at present is in the motion +picture field. Have soft focus lenses been used for producing screen plays +and with what result?” + +“Soft focus lenses are being used in motion picture photography, but I am +doubtful as to their success in the way they are being used at present—a +somewhat haphazard way. You are too conscious of the soft focus lens and +of the anastigmatic lens. That is, one part of the picture is made with a +soft focus lens and one with an anastigmatic. I believe that the soft +focus lens can be used, and will be used, in such a way as to give +beautiful results on the screen.” + + + + + IS PHOTOGRAPHY TO REMAIN A BLACK AND WHITE ART? + + +“What forecast, Mr.White, do you make of future developments in +photography? Is it to remain a black and white art, or are photographs in +natural colors to supersede the familiar photograph of the present day in +our exhibitions and in our homes?” + +“I think that the fundamental expression of photography is in black and +white, and as we develop what I would call the definite photographic +quality, black and white will maintain its present ascendency.” + +“But don’t you expect the art to develop in different directions from what +it is today and what it has been in the past?” + +“I think it will develop especially in a more marked sense of picture +construction.” + + + + + + * * * + + + + + +HOW WE MAKE OUR PHOTOGRAPHS + + + _Methods of Several Representative Workers in Pictorial Photography Are + Given Below. Their Pictures May Be Found on the Pages Indicated_ + + + + +DR. CHAFFEE TELLS HOW HE MAKES BROMOILS—WITH RESERVATIONS + + +_See __Weissthurm_ + +Rothenburg o. Tauber, today a mediaeval town surrounded by its ancient +walls and towers, possesses relics of yet earlier fortifications within +the present ones. One of these relics is the so-called Weissthurm, still +dominating the narrow streets that lead to it and the old houses that have +attached themselves to its base. + +The print is a bromoil transfer upon English crayon paper from Wellington +smooth ordinary (pre-war variety). The negative was made with a Goerz +Dagor lens in a Lancaster reflex upon a Seed Ortho L plate. The further +data which all careful workers are supposed to keep were not made and can +there fore unfortunately not be furnished. + + A. D. CHAFFEE. + + + + + EVADED THE STATUTE, BUT MADE A PICTURE + + +_See __Cables_ + +“Cables” is the pictorial result of several months’ study of the Brooklyn +Bridge towers. When I found the composition I wanted, the rest was easy. +Except for the police. To a Bridge policeman anything on a tripod is a +movie camera, and that means: “Some guy’s gonna jump! Where’s he at?” I +evaded, not the law, but the majesty thereof—and with an 8×10 view camera. + +The light was bad. (My lens would give an optical savant brain fever; I +designed it myself.) I used the rising front to the limit, and stopped +down to F:11 to cover the plate. Result, under-exposure, at one-sixtieth. +I developed first in Rodinal, 1:120; then finished in Rodinal 1:30. +Stanley plates can endure much cruelty. The print for reproduction is +made on matte Azo, soft, using strong M.-Q. developer. + + ARTHUR D. CHAPMAN. + + + + + A FEW BELIEFS OF A NEGATIVE TENDENCY + + +_See __The Bugle Call_ + +I believe that the data of camera, plate, lens, exposure, paper, etc., +have no essential value as aids in pictorial photography. + +That pictures are made with the camera by feeling alone. The selection of +the subject, the lighting, the composition, the exposure and development, +and the after-treatment and selection of the printing medium, are all a +matter of feeling. + +That the rules of technique once learned are all practically violated in +the making of the plate and in the production of a print, according as the +artist feels his subject and as he wishes to reproduce that feeling. + +In that way only can the individuality be attained which is the keynote of +picture-making. + + DWIGHT A. DAVIS. + + + + + PHOTOGRAPHING ON A RAINY DAY + + +_See __Maids o’ the Mist_ + +This picture was made with a vest pocket kodak fitted with a Goerz Dagor F +6.3. It was a rainy day and the camera user made his exposure under an +umbrella. The film was enlarged to 6½×8½ on Illingworth De Luxe paper, +cream-colored stock, imported from England—took about three months to get +it. + + MR. AND MRS. J. D. DREW. + + + + + HOW A “REMBRANDT” WAS MADE + + +_See __My Father_ + +The original negative of my father was made with 5×7 Graphic camera and a +Standard Orthonon plate, using a Busch Omnar F 4.5 of ten-inch focal +length, at full opening. A hazy day in the country, the ground covered +with snow, a south window shaded by a veranda and my father seated in +front of the window about four or five feet from it, explain the lighting. +No reflector was used. Camera was moved to get the desired light. +Knowing him, I caught him in a favorite chair and in a characteristic +position. To subdue the detail of the door and wall behind, but to +suggest the depth and atmosphere of the room and to give all the lines and +modeling of the face, an enlargement was made on an 11×14 sheet of P. M. +C. No. 8 Bromide paper, and this was carefully inked, using the copper +sulphate, salt, bichromate bleach. The aim throughout was to get a print +which should be a sympathetic record of a good strong face and one which +should tell of the cheerful evening of a busy life. + +All my portraits are made in ordinary living-rooms or school-rooms. I +rarely use any reflector, merely shifting my camera or my subject, +preferably the former. For younger subjects and especially children I +prefer a lighter key. Sometimes I use a soft focus lens for a very +moderate degree of diffusion. + + VERNON E. DUROE. + + + + + HE THOUGHT SHE WAS CRAZY + + +_See __Arches of the Municipal Building_ + +“Arches of the Municipal Building of New York” was taken on a Standard +Orthonon plate, about 9:30 A.M., with a twenty minute exposure. Instead +of a lens, the photographer used a piece of black paper pierced with a +pin. A wise passer-by who knew a thing or two about photography noticed +the absence of the lens. “How do you think you are going to take a +picture without a lens?” he asked. “With a pin-hole,” she replied. He +watched her with pitying interest. “She _thinks_ she is taking a +picture,” he said to another expert, tapping his head significantly. + + ANTOINETTE B. HERVEY. + + + + + THE LAST OF THE SQUARE RIGGERS + + +_See __The Last of the Square Riggers_ + +How to suggest something of the stately vigor and the triumph over the +mysteries of the seas of the old whaler, “Greyhound,” home from her last +voyage after seventy-four years of service—her yards squared and bravely +dressed for the inspection which will condemn her to be broken up—was the +problem of the photographer. + +The time was near noonday in early August, the air clear and the sun +bright. A Graflex camera was used with Seed L Ortho plates and a +three-times screen, and one-fortieth of a second exposure sufficed at F 8. +The plate was developed with Kalogen in tank rather softly and a contact +positive made of the negative. This positive was then used to make an +11×14 negative by enlargement. P. M. C. No. 8 paper, buff stock, was +selected, and in printing a piece of thin, even-grained paper was placed +between the negative and the print paper to gain a certain softness of +quality in the finished print. Finally when dry the print was waxed and +rubbed down several times to give extra life and richness, particularly in +the shadows. The camera carried a nine-inch Struss lens. + + G. B. HOLLISTER. + + + + + AS TO CERTAIN SOFT FOCUS LENSES + + +_See __Still Life_ + +Answering your question, Do you like to work with the Graflex with a Smith +doublet, visual quality lens? I really believe it would be difficult to +find a more satisfactory outfit. It is a companion always ready and +willing to do everything that either comes your way or you go after. +Working at F 4.5, the lens gives you the opportunity of getting the +broadest effects in landscapes or the softest in portraits. As a rule +these are not pleasing to most people when enlarged. I therefore usually +work with the lens at F 6 or F 8, which gives a delightful image with +distinct contours and a definite softness to the outlines, making +beautiful enlargements which are sharp enough for bromoil or gum. And the +Graflex is not so very heavy when a film pack or cut films are used. The +image is always right side up and you see it in the full size. No one can +question the efficiency of the shutter, and with practice you can hold the +camera for a one-fifth second exposure. The only drawback to the outfit +is in seeing things from the waist level, which makes the foreground +difficult. Thinking of your picture as a pattern, however, it is better +to be looking down from an elevation and with a nine-inch lens on a 4×5 +box the immediate foreground is negligible. Everything considered, I +believe there is no more satisfactory outfit than this combination. + +“Still Life” was the result of a problem of construction in pastel with +three colors, the vase green, the small box red, with the white string. +It was later photographed as a study of colored objects, using a Standard +Orthonon plate with a Cramer Isos III filter and a Struss lens at F 8. +The lens was of fifteen-inch focal length on a 6½×8½ plate. The exposure +was made in an ordinarily lighted room, but not strong light, and I think +about four minutes was given. The print is on ivory black platinum. There +was no retouching of any kind, and I think the print shows the value of +using a color filter with an orthochromatic plate where colors are +contrasted in the subject. + + B. S. HORNE. + + + + + MR. LATIMER EXPRESSES HIS VIEWS SOMEWHAT AT LENGTH + + +_See __In an Italian Village_ + +In the olden days I used to lug around big cameras. I even went so far as +to have 14×17 _hand camera_, made to take to sea with me to make large +direct marines. In the days of the old Boston Camera Club it was called +“the dog-house.” But I soon found out that it was “too much pork for a +shilling.” Now I use small cameras and enlarge. My small cameras are +mostly of the stereo-panoram variety, and a pocket Ansco, all fitted with +fast lenses and with direct vision finders, which I consider much more +practicable than the old style finders. For instance, I was on a steamer +a few months ago, waiting to leave the dock, and a lot of gulls were +flying around. I said to myself, “Here’s a good opportunity to test my +shutter and finder, and see if I can stop them,” so I used up one roll of +film on them. I made direct hits and stops on every one. + +My picture “In an Italian Village” was made with my Voigtlander 45×107 mm. +stereo camera. I was on an auto trip in Italy; had nearly used up my +three months allowed by the Italian Government, and had three days to get +out or lose my deposit for duty on my car. I was on my way to the French +frontier, and ran through this Italian village—Todi I think the name was. +When I saw this picturesque old wall with some of the villagers, I said, +“I’ve got to get this whether I lose my deposit or not.” So I stopped the +car, got out my stereo, stood up in the car, leaned on the windshield, and +shot before they woke up to what I was doing. Then what happened? The +whole village seemed to want to get into the plate, and I had a mob +instead of a picture. I made several more shots, but the first one was +the best. In nine cases out of ten in like conditions I find the first +shot the best. Shoot quick and don’t give ’em time to pose. I suppose if +I had trained movie models, though, it might be different. I’ve tried +studio work, but I prefer the small camera and the quick snapshot. Luck +counts, I admit, but when it is good, the snapshot seems to me more +spontaneous than anything I can do in the studio. + +My usual method of enlarging from small camera shots is this. I enlarge a +transparency (positive) up to 6½×8½ or 8×10. “In an Italian Village” was +an 8×10 positive, sharp lens. Then, either with a soft focus or a sharp +focus lens, I enlarge to whatever size I want and whatever effect I’m +after. The advantage of enlarging the positive is that you can do any +faking you want to better advantage, and when your enlarged negative is +done you can print in any medium you wish, so I always make enlarged +negatives. I don’t think I’ve made a bromide enlargement in twenty years. +“In an Italian Village” was enlarged from a part of a 45×107 mm. stereo, a +little larger than my thumb-nail. The enlarged negative is 11×14. It was +printed in multiple gum, four printings, pigment 50-50 lampblack and +indigo. + + H. A. LATIMER. + + + + + NIGHT PICTURES IN THE STREETS + + +_See __Crow’s Nest Restaurant,__ also The Arch of Jewels, New York +City—Mr. Alcock’s picture was made under similar conditions._ + +Picturing New York with a camera after dark is perhaps one of the most +interesting phases of pictorial photography. After spending several +evenings prowling about for subjects that will lend themselves for night +pictures you start out one evening to transfer these mental images to the +plate. A little patience, endurance, and a great deal of enthusiasm will +do wonders. It is not the easiest thing in the world to start out with an +8×10 view camera, a good substantial tripod, and several plate-holders. A +strong tripod is absolutely necessary on account of winds, jars, +vibrations, etc. To avoid halation use portrait film, take the view where +there are no glaring lights, and develop with Azol. Judge your time +according to the amount of light (two to ten minutes). Capping the lens +each time a lighted moving vehicle comes along helps the picture. For +night pictures probably the best medium is gum palladium, because it lends +itself to the mellow evening lights. + + SOPHIE L. LAUFFER. + + + + + HOW TO “WORK UP” A NEGATIVE + + +_See __Along the Canal_ + +“Along the Canal” was taken about mid-day in July in bright sunlight, +Graflex 4×5, Cooke lens working at one-twentieth of a second, F 11, on +Seed 26x plate, Pyro (Kodak powders) developer. In working up, first make +Solio print and enlarge by photographing up to 6×8. On this negative sky +and some trees were painted out, using glass side to work on. From this +negative print was made on American platinum paper, first the foreground, +then the sky printed from negative which will suit subject. Retouching +can be done on this print with carbon pencil. You then have a print which +can be enlarged to any size, using Smith lens. This print is on Spanish +hand-made paper, hand-coated with platinum. + + W. E. MACNAUGHTON. + + + + + AN EXPERIENCE WITH A RAILWAY DETECTIVE + + +_See __The Railway Station_ + +I wandered into the Grand Central Station in New York City with a new +camera—a Speedex 2¼×3¼. It had been given me as a present by my partner +in photographic and other joys, who was tired of seeing me lug around an +8×10 view camera and plates. I thought the light looked interesting in +the big station and opened my little box. Appeared on the scene the +station detective. “Not allowed to make photographs without a permit.” +“Where do I apply for it?” “At the stationmaster’s room.” I walked half +a mile and interviewed a pretty stenographer. She said, when I showed her +the tiny camera, “Certainly you can make snapshots with that little thing. +What we don’t like is putting up a big camera on a tripod.” I went back +in triumph, showed my permit, and shot. F4.8 Zeiss lens, wide open, one +second exposure. Enlarged on P. M. C. No. 5, to 11×14 with Smith lens. + + HENRY HOYT MOORE. + + + + + FROM A “BATHROOM” EXPERT + + +_See __The Hour of Twilight_ + +I never at any time have had a regular dark room, practically always +changing my plates and reloading holders at night in total darkness. When +developing plates or enlargements, I take possession of the bathroom, +place a wide board across the tub on which are placed the necessary trays, +see that the room is absolutely dark, and go ahead. I usually tank my +plates and films and use Azol for developing, sometimes Pyro. + +Most of my exposures are made with an Adams Minex Reflex camera, quarter +plate size. This camera cost about three hundred dollars before the war, +and I have found it well worth the expenditure. It has a Ross Zeiss +Tessar lens, which I seldom use, being quite content with the work of my +Smith single F 4.5 lens, which I carry in the camera all the time with a +three-times light filter attached. My only other camera, which I use a +great deal, is a Newman & Guardia “Baby Sybil” with Carl Zeiss Tessar F +4.5 lens, taking a picture 4.5 x 6 cm. This does wonderful work, the +negatives easily enlarging to 11×14 and over. I use the Standard Orthonon +plate and Premo speed film pack, always giving a full exposure. My +favorite printing processes are multiple gum and bromoil, three or four +printings in the former, nearly always from enlarged paper negatives up to +11×14 from either camera. + +“The Hour of Twilight” is a triple printing in gum, and was made with the +Adams Minex on a Standard Orthonon plate, using a Smith single lens. + + WILLIAM GORDON SHIELDS. + + + + + MR. WHITE’S METHOD WITH CHILDREN + + +_See __Sisters_ + +When I went out of town to make a photograph of these children I wasn’t +feeling just fit and I asked my friend to excuse me from making any +negatives that day. I took the opportunity to look around and get an +impression of the place. I noted the big rooms and the characteristics of +the lighting and the faces of the children. I found that they kept their +toys in a big sort of a highboy. So the next time I went out I +photographed them there. The lens? Oh, yes; a Taylor-Hobson single. +Exposure? Always with a cap, indoors. Paper? Always platinum or +palladium—sometimes with a gum coating to help out. + + CLARENCE H. WHITE. + + + + + DRAGGING A VIEW CAMERA THROUGH THE SANDS + + +_See __Sand Dunes_ + +For want of a smaller one, I had the courage to drag a 6½×8½ Eastman view +camera through the sand one late afternoon in September, to make my +picture of the “Sand Dune.” I used a Struss lens stopped to F 11, a +Standard Orthonon plate, an Iso three-times ray filter, and gave it as +short an exposure as I could with a cap. I use a cap because I tell +myself it is less mechanical and because I do not happen to possess a +shutter. + +I developed the plate with Activol and printed it on sepia Palladiotype to +try to give it that quality of sunlight which I saw falling upon the sand, +the waving dune grass, and the sea beyond. + + MILDRED RUTH WILSON. + + + + + + + [THE HAMPTON SINGER, By Dorothy Abbott, New York City] + + THE HAMPTON SINGER + _By _DOROTHY ABBOTT, _New York City_ + + + [THE ARCH OF JEWELS, NEW YORK CITY, By William A. Alcock, New York City] + + THE ARCH OF JEWELS, NEW YORK CITY + _By _WILLIAM A. ALCOCK, _New York City_ + + + [WILLOW VALLEY, By Charles K. Archer, Pittsburgh, Pa.] + + WILLOW VALLEY + _By _CHARLES K. ARCHER, _Pittsburgh, Pa._ + + + [PRAYERS OF BUDDHA, By F. Bauer, San Francisco, Cal.] + + PRAYERS OF BUDDHA + _By _F. BAUER, _San Francisco, Cal._ + + + [THE SWANS, By Jesse Tarbox Beals, New York City] + + THE SWANS + _By _JESSE TARBOX BEALS, _New York City_ + + + [ABOVE THE CLOUDS, By Clark Blickensderfer, Denver, Colo.] + + ABOVE THE CLOUDS + _By _CLARK BLICKENSDERFER, _Denver, Colo._ + + + [GRAMERCY PARK, By Mary F. Boyd, Chambersburg, Pa.] + + GRAMERCY PARK + _By _MARY F. BOYD, _Chambersburg, Pa._ + + + [HILL TOP—WINTER, By George Butler, Worcester, Mass.] + + HILL TOP—WINTER + _By _GEORGE BUTLER, _Worcester, Mass._ + + + [WEISSTHURM—ROTENBURG O. TAUBER, By A. D. Chaffee, New York City] + + WEISSTHURM—ROTENBURG O. TAUBER + _By _A. D. CHAFFEE, _New York City_ + + + [CABLES, By Arthur D. Chapman, West Hoboken, N.J.] + + CABLES + _By _ARTHUR D. CHAPMAN, _West Hoboken, N.J._ + + + [BOOKPLATE, By Alfred Cohn, Brooklyn, N.Y.] + + BOOKPLATE + _By _ALFRED COHN, _Brooklyn, N.Y._ + + + [THE BUGLE CALL, By Dwight A. Davis, Worcester, Mass.] + + THE BUGLE CALL + _By _DWIGHT A. DAVIS, _Worcester, Mass._ + + + [THE BRIDGE, By John Paul Edwards, Sacramento, California] + + THE BRIDGE + _By _JOHN PAUL EDWARDS, _Sacramento, California_ + + + [MY FATHER, By Vernon E. Duroe, Brooklyn, N.Y.] + + MY FATHER + _By _VERNON E. DUROE, _Brooklyn, N.Y._ + + + [MAIDS O’ THE MIST, By Mr. and Mrs. J. D. Drew, Montclair, N.J.] + + MAIDS O’ THE MIST + _By _MR. AND MRS. J. D. DREW, _Montclair, N.J._ + + + [AFTERNOON TEA, By Eleanor C. Erving, Albany, N.Y.] + + AFTERNOON TEA + _By _ELEANOR C. ERVING, _Albany, N.Y._ + + + [SUMMER PORTRAIT, By Laura Gilpin, Colorado Springs, Colo.] + + SUMMER PORTRAIT + _By _LAURA GILPIN, _Colorado Springs, Colo._ + + + [SUNLIGHT—TAOS, By Forman Hanna, Globe, Arizona] + + SUNLIGHT—TAOS + _By _FORMAN HANNA, _Globe, Arizona_ + + + [DICK’S STALL, By G. W. Harting, New York City] + + DICK’S STALL + _By _G. W. HARTING, _New York City_ + + + [BETH-EL, By Edward Heim, New York City] + + BETH-EL + _By _EDWARD HEIM, _New York City_ + + + [THE TOILERS, By Eugene P. Henry, Brooklyn, N.Y.] + + THE TOILERS + _By _EUGENE P. HENRY, _Brooklyn, N.Y._ + + +[ARCHES OF THE MUNICIPAL BUILDING, By Atoinette B. Hervey, New York City] + + ARCHES OF THE MUNICIPAL BUILDING + _By _ATOINETTE B. HERVEY, _New York City_ + + + [MORNING—PLYMOUTH, By Lillian M. Hobart, Northborough, Mass.] + + MORNING—PLYMOUTH + _By _LILLIAN M. HOBART, _Northborough, Mass._ + + + [LAST OF THE SQUARE RIGGERS, By G. Buell and Hebe Hollister, Corning, + N.Y.] + + LAST OF THE SQUARE RIGGERS + _By _G. BUELL AND HEBE HOLLISTER, _Corning, N.Y._ + + + [WAR VETERANS, By Millie Hoops, New York City] + + WAR VETERANS + _By _MILLIE HOOPS, _New York City_ + + + [STILL LIFE, By D. S. Horne, Princeton, N.J.] + + STILL LIFE + _By _D. S. HORNE, _Princeton, N.J._ + + + [THE SUNSHINE OF JOHNNIE’S SMILE, By Roberta Hostetler, Davenport, Iowa] + + THE SUNSHINE OF JOHNNIE’S SMILE + _By _ROBERTA HOSTETLER, _Davenport, Iowa_ + + + [SUN DRYING, By H. A. Hussey, Berkeley, Cal.] + + SUN DRYING + _By _H. A. HUSSEY, _Berkeley, Cal._ + + + [PORTRAIT, By Doris U. Jaeger, New York City] + + PORTRAIT + _By _DORIS U. JAEGER, _New York City_ + + + [THE PIPES OF PAN, By Myers R. Jones, Brooklyn, N.Y.>] + + THE PIPES OF PAN + _By _MYERS R. JONES, _Brooklyn, N.Y._ + + + [IN AN ITALIAN VILLAGE, By H. A. Latimer, Boston, Mass.] + + IN AN ITALIAN VILLAGE + _By _H. A. LATIMER, _Boston, Mass._ + + + [CROW’S NEST RESTAURANT, By Sophie L. Lauffer, Brooklyn, N.Y.] + + CROW’S NEST RESTAURANT + _By _SOPHIE L. LAUFFER, _Brooklyn, N.Y._ + + + [THE QUARRY, By GEORGE P. LESTER, Bloomfield, N. J.] + + THE QUARRY + _By _GEORGE P. LESTER, _Bloomfield, N. J._ + + + [DETAIL OF CALIFORNIA BUILDING, By Florence Burton Livingston, Mohegan + Lake, N.Y.] + + DETAIL OF CALIFORNIA BUILDING + _By _FLORENCE BURTON LIVINGSTON, _Mohegan Lake, N.Y._ + + + [SUNBEAMS, By Ben J. Lubschez, New York City] + + SUNBEAMS + _By _BEN J. LUBSCHEZ, _New York City_ + + + [ALONG THE CANAL, By William Elbert Macnaughton, Brooklyn, N.Y.] + + ALONG THE CANAL + _By _WILLIAM ELBERT MACNAUGHTON, _Brooklyn, N.Y._ + + + [SPRING, By Holmes I. Mettee, Arlington, Md.] + + SPRING + _By _HOLMES I. METTEE, Arlington, Md. + + + [SYMPATHY, By Hervey W. Minns, Kenmore, Ohio] + + SYMPATHY + _By _HERVEY W. MINNS, _Kenmore, Ohio_ + + + [THE MEADOW, By Robert B. Montgomery, Brooklyn, N.Y.] + + THE MEADOW + _By _ROBERT B. MONTGOMERY, _Brooklyn, N.Y._ + + + [THE RAILWAY STATION, By Henry Hoyt Moore, Brooklyn, N.Y.] + + THE RAILWAY STATION + _By _HENRY HOYT MOORE, _Brooklyn, N.Y._ + + + [Cultivating, By L. Pokras, Brooklyn, N. Y.] + + CULTIVATING + _By _L. POKRAS, _Brooklyn, N. Y._ + + + [PORTRAIT—MISS F., By Arthur Racicot, Quantico, Va.] + + PORTRAIT—MISS F. + _By _ARTHUR RACICOT, _Quantico, Va._ + + + [TO THE UNKNOWN SHORE, By Lawrence C. Randall, Columbus, Ohio] + + TO THE UNKNOWN SHORE + _By _LAWRENCE C. RANDALL, _Columbus, Ohio_ + + + [THE EAST RIVER, By D. J. Ruzicka, New York City] + + THE EAST RIVER + _By _D. J. RUZICKA, _New York City_ + + + [CLOSING OF AN AUTUMN DAY, By J. G. Sarvent, Kansas City, Mo.] + + CLOSING OF AN AUTUMN DAY + _By _J. G. SARVENT, _Kansas City, Mo._ + + + [THE VANISHING ROAD, By Otto C. Shulte, San Francisco, Cal.] + + THE VANISHING ROAD + _By _OTTO C. SHULTE, _San Francisco, Cal._ + + + [THE HOUR OF TWILIGHT, By William Gordon Shields, New York City] + + THE HOUR OF TWILIGHT + _By _WILLIAM GORDON SHIELDS, _New York City_ + + + [A SONG, By Guy Spencer, New York City] + + A SONG + _By _GUY SPENCER, _New York City_ + + + [OPEN-AIR PULPIT, GRACE CHURCH, By Elizabeth G. Stoltz, Marion, Ohio] + + OPEN-AIR PULPIT, GRACE CHURCH + _By _ELIZABETH G. STOLTZ, _Marion, Ohio_ + + + [L’ENTRE’ACTE, By Mankichi Sugimoto, New York City] + + L’ENTRE’ACTE + _By _MANKICHI SUGIMOTO, _New York City_ + + + [FARMYARD, By George P. Swain, East Orange, N.J.] + + FARMYARD + _By _GEORGE P. SWAIN, _East Orange, N.J._ + + + [CARLOTTA, By Lacy Van Wagenen, Orange, N.J.] + + CARLOTTA + _By _LACY VAN WAGENEN, _Orange, N.J._ + + + [MRS. PICKFORD, By Mabel Watson, Pasadena, California] + + MRS. PICKFORD + _By _MABEL WATSON, _Pasadena, California_ + + + [THE LITTLE ART SHOP—WOODSTOCK, By Anthony J. Weis, New York City] + + THE LITTLE ART SHOP—WOODSTOCK + _By _ANTHONY J. WEIS, _New York City_ + + + [THE DANCE, By Delight Weston, Blue Hill, Maine] + + THE DANCE + _By _DELIGHT WESTON, _Blue Hill, Maine_ + + + [SISTERS, By Clarence H. White, New York City] + + SISTERS + _By _CLARENCE H. WHITE, _New York City_ + + + [SAND DUNE, By Mildred Ruth Wilson, Flushing, Long Island] + + SAND DUNE + _By _MILDRED RUTH WILSON, _Flushing, Long Island_ + + + + + + +_THE_ PICTORIAL PHOTOGRAPHERS _OF_ AMERICA + + +The objects of the Pictorial Photographers of America are to stimulate and +encourage those engaged and interested in the Art of Photography; to +enlist the aid of museums and public libraries in adding photographic +prints to their departments; to stimulate public taste through +exhibitions, lectures, and publications; to invite exhibits of foreign +work; and generally to promote education in this Art so as to raise the +standards of Photography in the United States of America. + +Meetings of the Association are held in New York City on the first Monday +of each month. During the winter of 1919-1920 the following lecturers +addressed the Association at these meetings: Mr. Robert J. Cole, Art +Reviewer, New York Evening Sun, on “Man and the Camera;” Mr. H. J. Potter, +of the Eastman Kodak Company, on “Both Ways from F-8;” Mr. Albert Sterner, +on “Before the Click of the Shutter;” Mr. Pirie MacDonald and Mr. E. B. +Core, on “The Pictorial Side of Professional Photography;” and Mr. Walter +G. Wolfe, on “The Use of the Soft Focus Lens.” Mr. Allen Eaton, Field +Secretary of the American Federation of Arts; Mr. William M. Ivins, +Curator of Prints, Metropolitan Museum of Art; Dr. Frank Weitenkampf, of +the New York Public Library; Prof. Charles H. Farnsworth, of Columbia +University, and Walter L. Hervey, Ph.D., also made addresses. + +Another feature of the meetings which added to their interest and +usefulness was a monthly print competition. Prints were submitted by +members from all parts of the United States, judged by a committee in +advance of the meeting, and a selection of ten prints presented to the +members for their consideration. From these they chose each month the two +best prints. + +The Pictorial Photographers of America this year for the first time +arranged an exhibition of prints in Europe. Acting on the invitation of +the Copenhagen Photographic Amateur Club to cooperate in celebrating its +Twenty-fifth Anniversary, about 350 prints from leading pictorialists all +over this country were assembled and forwarded in July to Copenhagen. + +At home, in cooperation with the American Federation of Arts, the +Pictorial Photographers of America exhibited at the following museums the +hundred prints which are reproduced in “Pictorial Photography in America +for 1920.” The John Herron Art Institute of Indianapolis, The Jackson Art +Association of Michigan, The Boston Society of Arts and Crafts, The +Mechanics Institute of Rochester, The Arnot Art Gallery of Elmira; and +during May, at the University of Virginia. + +During the past season the Association has cooperated with other +organizations of a similar nature in planning for and establishing an Art +Center in New York City. The plans for this have been successfully worked +out, funds are already in hand for its accomplishment and buildings +purchased for occupancy. This will provide a home for our Association, a +splendid gallery for exhibitions, and thus make certain of immediate +accomplishment plans for our future which have seemed impracticable up to +the present time. + +In publishing “Pictorial Photography in America for 1921” the Association +has invited the cooperation of pictorialists whether or not members of the +organization. We hope that it will interest in our work men and women, +whether photographers or not, who are interested in the development of the +Art of Photography. The Secretary will gladly give more detailed +information about the work of the Association and its plans for the coming +year to any who are interested. + + JERRY D. DREW, _Secretary._ +National Arts Club, 119 East 19th Street, New York City. + [Advertisement: Pinkham and Smith Company] + [Advertisement: Eastman Kodak Company] + [Advertisement: Ansco Company] + [Advertisement: Ica-Contessa] + [Advertisements: Kalogen; Willis and Clements] + [Advertisements: Japan Paper Company; George Murphy, Inc.] + [Advertisements: Fred’k W. Keasbey, Abe Cohen’s Exchange] + [Advertisements: Wollensack Optical Company; Willoughby’s] + + + + + +***END OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1921*** + + + +CREDITS + + +February 8, 2009 + + Project Gutenberg Edition + Martin Schub + + + +A WORD FROM PROJECT GUTENBERG + + +This file should be named 28023-0.txt or 28023-0.zip. + +This and all associated files of various formats will be found in: + + + http://www.gutenberg.org/dirs/2/8/0/2/28023/ + + +Updated editions will replace the previous one — the old editions will be +renamed. + +Creating the works from public domain print editions means that no one +owns a United States copyright in these works, so the Foundation (and +you!) can copy and distribute it in the United States without permission +and without paying copyright royalties. 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