The Project Gutenberg EBook of Pictorial Photography in America 1920 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 1920



Author: Pictorial Photographers of America



Release Date: February 7, 2008 [Ebook #28015]



Language: English



Character set encoding: US-ASCII





***START OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1920***











Pictorial Photography in America

1920



























Pictorial Photographers of America



Tennant and Ward, New York

Publisher's Agents



1920











_Editorial Board_

CLARENCE H. WHITE

W. H. PORTERFIELD

JOHN PAUL EDWARDS

DWIGHT A. DAVIS



_Committee on Publication_

HENRY HOYT MOORE

WALTER L. EHRICH

RAY GREENLEAF

JOHN A. TENNANT











ILLUSTRATIONS





APRIL FLURRIES

_By _W. A. ALCOCK, _Brooklyn, N.Y._

PUCKACHIPE--SEAGULL

_By _ELIZABETH R. ALLEN, _Moorestown, N.J._

MY LITTLE GRAY HOME IN THE WEST

_By _GEORGE M. ALLEN, _Portland, Ore._

THE BUDDHA

_By _FRED R. ARCHER, _Los Angeles, Cal._

ISLANDERS

_By _LAURA ADAMS ARMER, _Berkeley, Cal._

ANN SPENCER

_By _JESSIE TARBOX BEALS, _New York_

EARLY MORNING

_By _DAVID W. BONNAR, _Buffalo, N. Y._

A BIT OF HOME LIFE

_By _WILL D. BRODHUN, _Wilkes-Barre, Pa._

A MOMENT'S REST

_By _GERTRUDE L. BROWN, _Evanston, Ill._

DANCERS

_By _JOHN C. BURKHARDT, _Portland, Ore._

DOUARNENEZ, FINISTERE

_By _DR. A. D. CHAFFEE, _New York_

RHEIMS

_By _ARTHUR D. CHAPMAN, _New York_

MICHIO ITORO

_By _ALVIN LANGDON COLBURN, _New York_

THE STREET

_By _ALFRED COHN, _Brooklyn, N. Y._

ST. JOHN'S CATHEDRAL

_By _JAMES COPELLA, _New York_

MR. MATSUMOTO KOSHIRO AS "TCHIKAWA GOYEMON" (THE ROBIN HOOD OF JAPAN)

_By _C. P. CROWTHER, _Kobe, Japan_

SPRING O' THE YEAR

_By _HELEN W. DREW, _Montclair, N. J._

THE LIFTING MIST

_By _JERRY D. DREW, _Montclair, N. J._

THE DOORWAY

_By _DWIGHT A. DAVIS, _Worcester, Mass._

HIGH BRIDGE

_By _EDWARD R. DICKSON, _New York City_

MRS. VERNON CASTLE

_By _DE MEYER, _New York_

BOATS

_By _E. G. DUNNING, _New York_

COMING TO SCHOOL

_By _VERNON EVERETT DUROC, _Brooklyn, N. Y._

STUDY

_By _WILLIAM B. DYER, _Portland, Ore._

DESIGN FOR A TAPESTRY

_By _JOHN PAUL EDWARDS, _Sacramento, Cal._

STUDY

_By _ADELAIDE WALLACH EHRICH, _New York_

LANDSCAPE

_By _ELEANOR C. ERVING, _Albany, N. Y._

SUGARLOAF MOUNTAIN

_By _W. H. EVANS, _Wilkes-Barre, Pa._

SIDEWALK TREASURES

_By _O. E. FISCHER, M. D., _Detroit, Mich._

THE GIRL FROM DELHI

_By _LOUIS FLECKENSTEIN, _Los Angeles, Cal._

FIFTY YEARS

_By _FREDERICK FRITTITA, _Baltimore, Md._

WATER SCENE

_By _JOHN WALLACE GILLIES, _New York_

THE MARBLE CUTTERS

_By _LAURA GILPIN, _Colorado Springs, Col._

WALPI

_By _FORMAN HANNA, _Globe, Ariz._

THE SHORE LINE

_By _G. H. S. HARDING, _Berkeley, Cal._

APRIL SNOW

_By _EDWARD HEIM, _New York_

DAY DREAMS

_By _G. W. HARTING, _New York_

IN THE ARBOR

_By _ANTOINETTE B. HERVEY, _New York_

MISS H.

_By _GEORGE HENRY HIGH, _Chicago, Ill._

SUNSHINE

_By _L. WILLIS HOOPS, _New York_

THE WHITE HAT

_By _G. B. HOLLISTER, _Corning, N. Y._

DESIGN

_By _BERNARD S. HORNE, _Princeton, N. J._

CITY STREET

_By _BLANCHE C. HUNGERFORD (MRS. LATIMER), _High Bridge, N. J._

COLUMBIA UNIVERSITY

_By _DR. CHARLES H. JAEGER, _New York_

PORTRAIT OF A CHILD

_By _DORIS U. JAEGER, _New York_

THE VALE OF THE SHADOW

_By _ARTHUR F. KALES, _Los Angeles, Cal._

PORTRAIT

_By _GERTRUDE KASEBIER, _New York_

OLD HILL TOWN

_By _WILLIAM KRIEBEL, _Philadelphia, Pa._

SOLITUDE

_By _W. R. LATIMER, _High Bridge, N. J._

ELLEN

_By _SOPHIE L. LAUFFER, _Brooklyn, N. Y._

MASTER JOHN SPEER

_By _GEORGE P. LESTER, _Bloomfield, N. J._

MOUNT ADAMS OF THE NORTHERN LAKES

_By _FRANCIS ORVILLE LIBBY, _Portland, Me._

MISTS TO-DAY--CLEAR ANON

_By _EDWIN LOKER, _St. Louis, Mo._

TREES AND CLOUDS

_By _DR. WILLIAM F. MAKK, _Los Angeles, Cal._

PLAYER ON THE YIT-KIM

_By _MARGRETHE MATHER, _Los Angeles, Cal._

ON LAKE PATZCUARO, MEXICO

_By _OSCAR MAURER, _Los Angeles, Cal._

ALONG THE WHARF

_By _HOLMES I. METTEE, _Baltimore, Md._

THE MARSH--EVENING

_By _J. GEORGE MIDGLEY, _Salt Lake City, Utah_

THE DANCER

_By _H. W. MINNS, _Akron, Ohio_

SNOW PATTERN

_By _H. REMICK NEESON, _Baltimore, Md._

THE FARMER

_By _HENRY HOYT MOORE, _Brooklyn, N. Y._

STEAM UP

_By _J. W. NEWTON, _Columbus, Ohio_

EVE REPENTENT

_By _IMOGEN CUNNINGHAM PARTRIDGE, _San Francisco, Cal._

SWANS

_By _G. HOUSON PAYNE, JR., _Baltimore, Md._

MOTHER AND CHILD

_By _MARGARET RHODES PEATTIE, _Chicago, Ill._

PLACING A PICTURE

_By _LEO POKRAS, _Brooklyn, N. Y._

TWILIGHT'S MYSTERY

_By _W. H. PORTERFIELD, _Buffalo, N. Y._

THE MORNING BOAT

_By _E. M. PRATT, _Tracy, Cal._

SWEET SIXTEEN

_By _MRS. WILLIAM H. RAU, _Philadelphia, Pa._

MOTHER

_By _JANE REECE, _Dayton, Ohio_

THE HUSBANDMAN

_By _O. C. REITER, _Pittsburgh, Pa._

THE LAST OF HIS RACE

_By _L. M. A. ROY, _La Crosse, Wis._

PENNSYLVANIA STATION, NEW YORK

_By _DR. D. J. RUZICKA, _New York_

A GLIMPSE OF PLEASANT VALLEY

_By _J. G. SARVENT, _Kansas City, Mo._

THE VALLEY BEYOND OUR HILL

_By _OTTO C. SHULTE, _San Franciso, Cal._

ELYSIAN PARK VISTA

_By _DAVID J. SHEAHAN, _Los Angeles, Cal._

IN THE FOOTHILLS OF THE WASATCH

_By _THOMAS O. SHECKELL, _Salt Lake City, Utah_

DOORWAY OF ST. PATRICK'S CATHEDRAL

_By _WILLIAM GORDON SHIELDS, _New York_

PORTRAIT

_By _MRS. STERLING SMITH, _San Diego, Cal._

THE COLUMNS

_By _E. RADIKER STANDCLIFF, _Elmira, N. Y._

TOWARD TAMALPAIS

_By _W. H. STEPHENS, _San Franciso, Cal._

MAE MURRAY

_By _FORD STERLING, _Los Angeles, Cal._

MARGARET

_By _JOHN H. STOCKSDALE, _Baltimore, Md._

THE CANAL

_By _M. SUGIMOTO, _New York_

STILL LIFE

_By _ELIZABETH TALCOTT, _Elmwood, Conn._

THE HOUSE O' DREAMS

_By _WILLIAM H. THOMPSON, _Hartford, Conn._

WITH FACE SET TOWARD THE WESTERN FRONT

_By _LIEUT. EDWARD LAROCQUE TINKER, U. S. N., _New York_

SHIFTING SAND

_By _CHARLES VANDERVELDE, _Grand Rapids, Mich._

RUTH ST. DENIS

_By _THE LATE LIEUT. LUKE R. VICKERS, _Church Creek, Md._

THE NEW YEAR'S EDITION

_By _WILL H. WALKER, _Portland, Ore._

GIRL WITH THE FAN

_By _MABEL WATSON, _Pasadena, Cal._

ELEANOR

_By _DELIGHT WESTON, _Blue Hill, Me._

EPILOGUE

_By _EDWARD WESTON, _Glendale, Cal._

MRS. M.

_By _LEONARD WESTPHALEN, _Chicago, Ill._

THE FAMILY

_By _CLARENCE H. WHITE, _New York_

THE FLOWER GARDEN

_By _CORNELIA F. WHITE, _New York_

THROUGH THE WINDOW

_By _HAZEL JANE WIEGNER, _Philadelphia, Pa._

MARIONETTE

_By _EDITH R. WILSON, _Mount Vernon, N. Y._

JEAN

_By _MILDRED R. WILSON, _Orange, N. J._

CITY BEYOND

_By _N. S. WOOLDRIDGE, _Pittsburgh, Pa._











CONTENTS





FOREWORD

The Pictorial Photographers of America

Pictorial Photography in New Jersey

Pictorial Photograpny in Maine

Pictorial Photography in Massachusetts

Pictorial Photograpky in Maryland

Middle West Activities and the Pittsburgh Salon

Pictorial Photography in the Far West

Illustrations

The following is a partial list of photographic organizations in America

which are encouraging pictorial Photography











FOREWORD





_By _CLARENCE H. WHITE

_President of the Pictorial Photographers of America_



To many people photography is merely a mechanical process.  To an

increasing number, however, photography is being seen as an art, by which

personal impressions of nature or human life may be expressed as truly as

by the brush.  These workers in photography see in it a medium by which

the action of light upon sensitive surfaces may be so controlled as really

to interpret scenes and persons in the individualistic spirit of a true

art.  From every part of our country come evidences of the growing

appreciation of photography as a pictorial medium.  Exhibitions in many

museums which have hitherto been indifferent to pictures made with the

lens have opened the eyes of the public to the possibilities of the

camera.  Clubs of photographic workers in various cities have maintained

or fostered the movement.  The lure of the moving picture has stimulated

the interest of countless multitudes in photography, and the occasional

presentation of fine pictorial work in this direction has given a prophecy

of better things to come.  The time, therefore, seems ripe to present in

this book a collection of the work of American pictorial photographers in

all sections of the country.  Many of these workers are members of the

organization known as the Pictorial Photographers of America; but the

appeal for photographic material for this book has been confined to no one

society or club, but has been widely inclusive of associations and

individuals, and it is believed that the work here presented is fairly

representative of the best American effort along these lines at the

present time.



It is the hope and intention of the organization that publishes this book

to stimulate interest in this branch of pictorial art.  This is believed

to be the first attempt in America to give a comprehensive presentation of

the status of pictorial photography as illustrated by the product of many

of its best workers.  As such it is commended to the consideration of

photographers both professional and amateur, of artists and art lovers,

and of the public generally.











THE PICTORIAL PHOTOGRAPHERS OF AMERICA





                      The Association's Work and Aim





_By_ EDWARD R. DICKSON



The Pictorial Photographers of America is an association having in mind

solely the development of the art of photography from a standpoint of

educational value.  Its position is unique, since the worker is afforded

not only an opportunity to exhibit his pictures in various museums and art

galleries, but is made to feel that maintaining photographic standards and

studying the arts for breadth of view are of chief importance.



Some of the advantages which photography offers are worth restating.  It

helps to draw one closer to nature and to seek fresh air.  Through the

exercise and cultivation of choice, it teaches how to decorate the home,

to dress with taste, and to keep an alert eye and mind on the passing

events of the world.  Because the Association knows that photography is

able to teach these things, it sought the aid of art museums and public

libraries to conduct photographic exhibitions so that children and adults

may not only see fine examples of the work of the camera in the hands of

artists, but be led thereby to appreciate more fully the value of

photography as an aid to interesting composition and a quickening of the

eye in realizing the beauty of sunlight and shadows which flit around us

much unrecognized at times.  Succeeding in gaining the sympathetic

co-operation of seventeen museums, in the winter of 1917-18 the

Association collected, from many of the most important workers in this

country, more than two hundred prints, which were divided into two groups

and exhibited as follows:



Minneapolis Institute of Arts, Milwaukee Art Institute, Art Institute of

Chicago, City Art Museum (St. Louis), Toledo Museum of Art, Detroit Museum

of Art, Cleveland Art Museum, Cincinnati Museum of Art, Morristown

Library, Newark Museum Association, New Britain (Conn.) Institute,

Worcester Art Museum, Syracuse Museum of Fine Arts, Guild of Allied Arts

(Buffalo), Grand Rapids Art Association, University of Oklahoma, New

Orleans Art Association.



There was also held in New York City an exhibition of the work of the New

England, New Jersey and Connecticut photographers, and among the immediate

activities of the Association will be the holding in New York of

exhibitions of the work of members of the Pacific Coast and other places,

so that there may be established a fuller understanding of the points of

view among the various pictorialists throughout the country.



The Association hopes to establish, in designated cities, pictorial

centers where photographs may always be seen, and centers for intercourse

and for exchange of views among workers. As a result of its plans, there

will soon be opened a branch of the Pictorial Photographers of America,

which will be called the Pacific Coast Chapter, embracing workers in the

following States: Oregon, California, Wyoming, Nevada, and Utah.  Meetings

will be held monthly, and lectures and exhibitions arranged in

co-operation with the parent body in New York.  As soon as this chapter

has begun active work, another will be opened in the New England and

Middle West States, modeled after the California chapter.  In this way the

Association hopes to be of national service in the advancement of

photography on educational lines, and it asks the sympathy of the public

as well as that of every worker of the camera in America.



Among other of its plans are: honoring those who have given valued service

to photography; the formation of a library; the establishment of a home

headquarters; the distribution of knowledge tending toward the making of

better catalogues; the art of hanging pictures so that their individual

beauty may be enhanced; the application of the motion picture to pictorial

expression; the recommendation of books on the development of the

individual, as well as others relating to the study of contemporary arts,

so that, through an acquaintance with all these, there may be brought to

the student a new and an individual approach in his photographic work.



The Association holds monthly meetings at the National Arts Club, 119 East

19th Street, New York, where exhibitions and lectures are given.

Admission is free.  The Association now publishes its first annual

"Pictorial Photography in America," which comprises the work of important

pictorialists in this country, whether or not members of the Association.

And in following out so broad a plan the Association has demonstrated to

its friends that its main interests lie in the presentation of fine work,

little caring who the individual may be.  As soon as the world has resumed

its normal stride, the Association will extend invitations for an

exhibition of foreign work to be shown in America.  In turn, the

Association will be glad to send an exhibition of American work abroad to

those who desire to see, more intimately than we are able to do by the

process of reproduction, what American pictorialists are doing.  In

another volume we hope to present the work of foreign pictorialists.



Plans are now being made whereby the original prints selected for this

Annual will be exhibited, under the direction of the American Federation

of Arts, in the galleries of many art museums throughout the country.



Herewith we list the names of the present officers and executive members

of the Association, as well as those who are members of the Council having

to do with pictorial activities in the different States.  Membership in

the Association is open to men and women of good character and ambitious

intentions, including those who, though not photographers, are interested

in the development of the art.



CLARENCE H. WHITE, _President_

DR. A. D. CHAFFEE, _Vice-President_

GERTRUDE KASEBIER, _Hon. Vice-President_

PROF. CHARLES F. CHANDLER, _Hon. Vice-President_

DR. CHARLES H. JAEGER, _Treasurer._

EDWARD R. DICKSON, _Recording Secretary_

MARGARET WATKINS, _Corresponding Secretary_



EXECUTIVE COMMITTEE



WALTER L. EHRICH

RAY GREENLEAF

BERNARD S. HORNE

CHARLES J. MARTIN

HENRY HOYT MOORE

DR. D. J. RUZICKA

W. G. SHIELDS

ADELE C. SHREVE



COUNCIL



_Arizona_

FORMAN G. HANNA



_California_

JOHN PAUL EDWARDS

LOUIS FLECKENSTEIN



_Connecticut_

GEORGE S. HAWLEY



_Florida_

DR. ADDISON O'NEILL



_Illinois_

EUGENE HUTCHINSON

MARGARET RHODES PEATTIE



_Indiana_

ALBERT ERNEST SCHAAF



_Iowa_

CHARLES B. KEELER



_Maine_

SYLVAN B. PHILLIPS



_Massachusetts_

DWIGHT A. DAVIS

WALTER G. WOLFE



_Michigan_

HERMAN GABRIEL

ELEANOR W. WILLARD



_Missouri_

EDWIN LOKER



_New Jersey_

JOSEPH R. ASHMORE



_New York State_

SPENCER KELLOGG, JR.

GEORGE B. HOLLISTER



_New York City_

EDWARD R. DICKSON

WALTER L. EHRICH

ANTOINETTE B. HERVEY

DR. CHARLES H. JAEGER

MERVIN W. PALMER

CLARENCE H. WHITE

EDITH R. WILSON

THOMAS COKE WATKINS



_Ohio_

JANE REECE

AUSTIN R. BREED

CARLE SEMON



_Oregon_

CLEMENTINE HIRSCH



_Pennsylvania_

WILL D. BRODHUN

ELIAS GOLDENSKY

MAURICE L. FLEISHER

MRS. M. W. WILTSE



_Utah_

THOMAS O. SHECKELL



_Wisconsin_

B. F. LANGLAND



_England_

ALVIN LANGDON COLBURN



_Canada_

CHARLES H. BARNARD











                                    *











PICTORIAL PHOTOGRAPHY IN NEW JERSEY





_By_ LOUIS F. BUCHER _of the Newark Camera Club, Inc._



In New Jersey, as well as in other States, pictorial photography was at

its lowest ebb during the period of the war.  The official ban on the use

of the camera in places that presented just the sort of material which

stirs the enthusiasm of the amateur photographer tended so to dampen his

ardor that his trusty "box" was left at home to accumulate dust.



But not for long, for a New Jersey cameraist, with the vision of a seer,

saw an opportunity to use his beloved instrument in a far-reaching

service.  His enthusiasm was soon imparted to fellow members of the Newark

Camera Club, and there quickly followed the birth of the Red Triangle

Camera Club, affiliated with the local Y. M. C. A.  Its object was pithily

expressed in its slogan, "A picture of home to every soldier overseas"--at

least to every Newark soldier in service.



While the members of the Camera Club were prompted solely by a desire to

serve, it was not long before there came responses in the form of letters

of gratitude from the soldier boys that heartened them to renewed

activity.  The written messages frequently attested that the pictures of

the home folks sent by the Camera Club members were the only ones that had

reached foreign shores.



As a stepping stone to something even greater, we have organized the

Associated Camera Clubs of America, with a view to linking the activities

of camera clubs and societies, the end to be sought being the creating of

greater interest in exhibitions, and interchanges of lantern slides and

prints. The prime object, of course, is to promote and cultivate the

art-sense through the science of photography.



If a camera club does not exist in the community in which the reader

resides, lend your services to the formation of one.  The members of the

Associated Camera Clubs of America stand ready to do their utmost to

assist an infant organization on its way to success.











                                    *











PICTORIAL PHOTOGRAPNY IN MAINE





_By _FRANCIS O. LIBBY



Maine, the State of forest and lakes, does not hold the position in

pictorial photography warranted by her natural beauties.  It would not be

unreasonable, considering the advantages of the land and the opportunities

offered by the varying atmospheric conditions, particularly along the

coast, to expect that there would be many pictorialists of high rank in

the State; but it is a lamentable fact that there are not.  After all, the

making of pictures with a camera is to a large extent a matter of

education and training--not so much in the way of overcoming the technical

difficulties of the medium, though of course this must be learned too, but

in such vital matters as composition, choice of subject matter, unity,

simplicity, and the like.  Then, given the vision, the pictorial

photographer is born.



This preliminary training and the art education of the beginner can best

be obtained in clubs; and in Maine the two centers of photographic

activity are Portland and Bangor, in both of which cities are active

camera clubs, each affiliated with the local art society and each holding

annual exhibitions in the spring of the year, at which workers from all

parts of the country show their pictures.  During the war these clubs have

been doing little more than marking time, but now that at last days of

peace have come again, we feel that the future holds prospects of great

promise to us.  For one reason or another the men whose names were known

ten or fifteen years ago seem to have dropped out and their places are

being filled by new blood, men with high ideals and aspirations, who are

not content merely with reproducing, by means of their cameras, pretty

scenes and places, but who believe that photography is capable of much

more--of showing not only the physical facts, but the very spirit of nature

herself--a true impressionism; and it is the task of these men to place

Maine in the position she should hold in pictorial work.



During the past year much has been accomplished by a very few men, and

through these men Maine has been represented at all the largest and best

salons, not only in this country and Canada, but also in England at the

London Salon.  Prints by the multiple gum process are favored by some of

the Portland workers, but the use of this process as a medium of

expression is limited to a few men, and the most of the large prints

produced are enlargements on bromide paper, as is probably the case

generally throughout the country.  This is perhaps somewhat to be

regretted, for although bromide paper is capable of producing very fine

prints when the subject is exactly adapted to it, still it does not permit

of the personal control afforded by some of the other processes, and of

course this is a handicap to the pictorial worker.



As before stated, the pictorial output of the State during the past year

has been limited to the work of a few men, but this condition is not going

to continue for long.  The clubs and societies are bending every effort

toward the encouragement of the new workers, and already some very

creditable work has been produced, and the coming year should see a worthy

showing from Maine at all the salons.











                                    *











PICTORIAL PHOTOGRAPHY IN MASSACHUSETTS





_By_ DWIGHT A. DAVIS



In Massachusetts, as in other parts of the country, war-time activities

interfered to a noticeable extent with the cause of pictorial photography.

The interference was perhaps less marked than in some other sections,

where more of the prominent workers were actively engaged at the front.

The difficulty in securing materials, amounting now and then to utter

impossibility, was, however, the same, and there was the same falling off

in enthusiasm, due to the demands on one's heart and pocketbook from

across the sea.  In this crisis organized effort might have been

especially helpful, but it is just in this respect that Massachusetts has

always been weak.  Her workers have been widely scattered from the

Berkshires to the shore, and such local clubs as have here and there

existed have not been deeply or permanently influential.  In Boston there

was the once famous Photo Clan, with Garo, Eicheim, and Schuman as its

leading spirits, but that has long since ceased to be an active force.  On

the other hand, the Boston Young Men's Christian Union Camera Club and the

Boston Society of Arts and Crafts have lately come into new prominence

through their efforts to stimulate interest and afford frequent

opportunities to view exhibitions of the best in photographic art.  The

former held, during the past winter, excellent one-man exhibits, in which

work of such prominent pictorialists as John Paul Edwards, Dr. Rupert

Lovejoy, Dwight A. Davis, Francis O. Libby, John H. Garo, Edward H.

Weston, and Arthur Hammond was shown.



But, in spite of these various influences, the workers of Massachusetts

for the most part pursue solitary ways, with little enough--all too little,

some would say--of the advantages that come from intimate association.

There is, however, another side of the shield.  It is at least

questionable whether such strongly marked personality as appears in the

work of Seeley, Garo, Davis, Hammond, Eicheim, Buttler, the Allen sisters,

and a dozen others who might be mentioned, would be possible if the

workers of this section were under the closely dominating influence of a

centralized group, itself dominated by a single individual of exceptional

powers.  Such a state of affairs has sometimes been observed in other

parts of the country, and the results have not always been advantageous to

the interests of the individual workers.  Under such conditions as exist

in Massachusetts, the Pictorial Photographers of America has come as a

boon, since it affords just the kind of stimulus most needed.

Massachusetts has been swift to avail herself of the advantages thus

offered.  At the recent exhibition of the work of New England and New

Jersey pictorialists, held in New York, Massachusetts was represented by

16 out of a total of 27 exhibitors, with 64 out of a total of 107 prints--a

showing decidedly creditable to the old Bay State.











                                    *











PICTORIAL PHOTOGRAPKY IN MARYLAND





_By_ H. R. NEESON



The progress of pictorial photography in Maryland is to be ascertained by

an examination of the progress of the amateur in Baltimore, for aside from

the local exhibitions we have no record of anything done in the State.

While this condition is regrettable and hard to comprehend in an

art-loving center of such population, there is none the less an

improvement over former times.



The shops and the "finishers" have prospered, while the club--the old

organization in which the reason of being has been lost in a maze of

constitutional amendments, by-laws, and such like red tape--has declined in

influence and popularity.  In the world at large, pictorial photography

has grown amazingly.  This has led to a more pronounced line of

demarkation between the dilettante and the intelligent worker of

appreciation, with the balance of influence inclining strongly to the

latter.  In Maryland there has been an upheaval, a photographic

revolution, so to speak, and out of the wreckage has sprung the

Photographic Guild of Baltimore, which has done more to put Maryland

photographically to the fore in its five years of activity than had been

done in all the years previous.  It was due almost entirely to Guilders

that Maryland stood fourth at the recent Pittsburgh Salon.  Two

prerequisites to membership in the Guild are ability in keeping with the

highest standards and _productiveness_, as a consequence of which it has

only six members, who may be said to comprise the representative

pictorialists of the State.



For the past four years there has been an annual exhibition under the

auspices of the Guild at the Peabody Gallery, each well attended by the

art-loving public, with marked enthusiasm for what is being done with the

process.  A feature of the Guild exhibitions, beginning with the 1919

portfolio recently hung, is the invited work of out-of-town amateurs,

which is giving Baltimoreans a wider and better knowledge. While this

exhibition has not assumed salon proportions, it will in a measure bring

the salons to Baltimore if help in the way of prints from outside is

forthcoming, as we hope and believe will be the case.



On the whole, it may be truly said that the flexibility and responsiveness

of the photographic process have been sufficiently demonstrated to fix it

firmly among the art mediums.











                                    *











MIDDLE WEST ACTIVITIES AND THE PITTSBURGH SALON





_By_ W. H. PORTERFIELD



Any article describing the activity in pictorial photography in the United

States since 1914 must include a history of the work of the Pittsburgh

Salon, and that has been very thoroughly covered in magazine articles

immediately succeeding the close of each salon.



At the outbreak of the war, the thoughts and energies of many of our

foremost workers were directed toward other fields, and those who still

practiced the work for the art side of it did so under difficulties.



The governmental restrictions placed on the use of the camera in ports and

about all public buildings, and in many sections of nearly every city,

naturally had a tendency to discourage workers, but in spite of all the

obstacles in the path of the art photographer the years have not been

barren.



Some of the older societies have all but ceased to exist, if one can judge

by their contributions to the salons.



Each year has witnessed new names among the exhibitors at Pittsburgh, and

to an already formidable list there are annually added more than enough

names to fill the vacancies caused by the dropping of former members who

have failed to retain their membership due to non-compliance with the

rules which automatically eliminate inactives.



After six years of unprecedented success it may safely be said that the

Pittsburgh Salon has become a permanent fixture in the world of

photographic art and has unquestionably rendered a most valuable service

in keeping alive the exhibition spirit.



Mention should also be made of the good work done by the Chicago

Photo-Fellows, the Buffalo Camera Club, the Photographic Guild of

Baltimore, and the Photographic Section of the Pittsburgh Academy of Fine

Arts, each one composed of enthusiasts, who loyally support the American

and London Salons as well as being active workers in the Pictorial

Photographers of America.



These societies have been continually engaged in the promotion of

inter-club exhibitions as well as in encouraging the circulation of work

of individual members.



As an educational feature the club interchange has no equal.











                                    *











PICTORIAL PHOTOGRAPHY IN THE FAR WEST





_By_ JOHN PAUL EDWARDS



The progress of pictorial photography in the Far West can be aptly

compared with the settlement and growth of this big new country itself.

We have had our pictorial pioneers, as it were--our hard-working,

enthusiastic, rather crude first settlers in the art; now we have come to

the stage of permanent abode, with traditions, albeit young, great

enthusiasm, definite ideals, and ambitious hopes for the future.



The one great asset in the upbuilding of the West has been boundless

enthusiasm.  This characteristic trait dominates the very soul of the

Western pictorialist.  In it lies his greatest hope for the future

progress in his chosen field of art.



It is this live energy and enthusiasm which brings him out afield even

before break of day, which leads him over hill and dale, mountain and

valley, in his insatiable quest for the pictorial.  Miles are as nothing;

hunger stays him not; nor rests he at night until his potential treasures

are developed and their beauties appraised.



The purpose of this preliminary psychologic analysis is to explain the

militant attitude of the Western pictorialist in his pursuit of the art of

the camera.  His extremely prolific production, manifesting itself in

liberal contributions to the salons and exhibitions of the world

photographic, rises not from vanity but from super-enthusiasm--from the

great joy he derives in making his picture, from the creation of the

beautiful, and from the playing of the game as it is best played.



Without losing a whit of the steady enthusiasm which has brought it to its

present encouraging stage, Western pictorial photography is, nevertheless,

settling down to a more staid and intellectual plane of progress.



The broad average of quality of work is steadily improving.  Better

standards have been established.  The workers are "finding" themselves.

Enthusiasm is being beneficently tempered by increased technical skill,

and more particularly by the intellectual development of the art side of

the work.



And so the future of pictorial photography in the Far West looks

exceedingly bright.  The salon workers of the past five or ten years are

with few exceptions as keen as ever for their art, and a very talented and

numerous lot of new workers are coming to the front.



The center, in fact the stronghold, of Western pictorial photography is

undoubtedly California.  All forms of art seem to flourish mightily in

this genial clime of wondrous, colorful beauty.  A land of smiling

sunshine, of lofty snow-capped peaks, of weird trees, of golden

poppy-covered slopes, of sparkling seas--it is small wonder that the young

art of the camera should thrive so vigorously there.



There are several active foci of pictorial interest in the State.  The

most active and most promising of these centers is the Camera

Pictorialists of Los Angeles. This club, as we may call it, has a

membership of fourteen under the directorship of Louis Fleckenstein.

Every member is an active worker of ability and promise.  This group has

made an imposing representation in nearly every photographic salon of

recent years.



They are sponsors for the International Photographic Salon held annually

in the municipal art gallery of Los Angeles.  This exhibition, with two

years of success behind it, must be rated as the premier event of its kind

in the West, and, in the quality of its offerings, second to none on the

continent.



While this is the only prominent group in California organized for

strictly pictorial work, there are a great many independent workers widely

scattered about the State.  San Francisco and the bay region can claim a

score or more whose achievements have been notable.



Oregon has many enthusiastic workers and a strong club in Portland.

Washington likewise has many camera artists of talent.  Both these States

have an untold wealth of pictorial material and many keen pictorialists.

All they lack is an active leader or two to bring them to the rank they

should hold in the photographic world.



In Salt Lake City we find an active, enthusiastic and very promising group

of workers under the able leadership of Thomas O. Sheckell.  Through the

medium of an extensive series of one-man exhibitions they have brought

before the art-loving public of their city the best work of a large number

of our leading pictorialists.



One of the most interesting and auspicious developments of the year has

been the recent formation of the Pacific Coast Chapter of the Pictorial

Photographers of America.



For very logical reasons the chief activities of the parent body of the

Pictorial Photographers of America have been centered in the City of New

York.  An earnest desire to enjoy like activities right at home while

still sharing the privileges of direct affiliation with our fellows of the

Pictorial Photographers of America led to the formation of the Pacific

Coast Chapter.  The idea is still young, but the success of the chapter is

definitely assured by the strong character of the membership already

secured.  It is the purpose of the chapter to uphold strongly the purposes

and ideals of its parent body and to work continuously for the advancement

of pictorial photography in the West.  A number of interesting exhibitions

are scheduled for the near future, the most important of these being the

"All Western" exhibition, which is planned for the fall and winter of

1919-20.  The aim is to include the best pictorial photography of the

West.  It will be shown first in New York by the Pictorial Photographers

of America and then routed through some of the more representative clubs

of the East and Middle West.













ILLUSTRATIONS





            [APRIL FLURRIES, By W. A. Alcock, Brooklyn, N.Y.]



                             APRIL FLURRIES

                   _By _W. A. ALCOCK, _Brooklyn, N.Y._





      [PUCKACHIPE--SEAGULL, By Elizabeth R. Allen, Moorestown, N.J.]



                           PUCKACHIPE--SEAGULL

               _By _ELIZABETH R. ALLEN, _Moorestown, N.J._





  [MY LITTLE GRAY HOME IN THE WEST, By George M. Allen, Portland, Ore.]



                     MY LITTLE GRAY HOME IN THE WEST

                  _By _GEORGE M. ALLEN, _Portland, Ore._





            [THE BUDDHA, By Fred R. Archer, Los Angeles, Cal.]



                               THE BUDDHA

                 _By _FRED R. ARCHER, _Los Angeles, Cal._





            [ISLANDERS, By Laura Adams Armer, Berkeley, Cal.]



                                ISLANDERS

                 _By _LAURA ADAMS ARMER, _Berkeley, Cal._





             [ANN SPENCER, By Jessie Tarbox Beals, New York]



                               ANN SPENCER

                   _By _JESSIE TARBOX BEALS, _New York_





           [EARLY MORNING, By David W. Bonnar, Buffalo, N. Y.]



                              EARLY MORNING

                  _By _DAVID W. BONNAR, _Buffalo, N. Y._





       [A BIT OF HOME LIFE, By Will D. Brodhun, Wilkes-Barre, Pa.]



                           A BIT OF HOME LIFE

                _By _WILL D. BRODHUN, _Wilkes-Barre, Pa._





         [A MOMENT'S REST, By Gertrude L. Brown, Evanston, Ill.]



                             A MOMENT'S REST

                 _By _GERTRUDE L. BROWN, _Evanston, Ill._





             [DANCERS, By John C. Burkhardt, Portland, Ore.]



                                 DANCERS

                 _By _JOHN C. BURKHARDT, _Portland, Ore._





         [DOUARNENEZ, FINISTERE, By Dr. A. D. Chaffee, New York]



                          DOUARNENEZ, FINISTERE

                    _By _DR. A. D. CHAFFEE, _New York_





                 [RHEIMS, By Arthur D. Chapman, New York]



                                 RHEIMS

                    _By _ARTHUR D. CHAPMAN, _New York_





            [MICHIO ITORO, By Alvin Langdon Colburn, New York]



                              MICHIO ITORO

                  _By _ALVIN LANGDON COLBURN, _New York_





              [THE STREET, By Alfred Cohn, Brooklyn, N. Y.]



                               THE STREET

                   _By _ALFRED COHN, _Brooklyn, N. Y._





            [ST. JOHN'S CATHEDRAL, By James Copella, New York]



                          ST. JOHN'S CATHEDRAL

                      _By _JAMES COPELLA, _New York_





[MR. MATSUMOTO KOSHIRO AS "TCHIKAWA GOYEMON" (THE ROBIN HOOD OF JAPAN), By

                       C. P. Crowther, Kobe, Japan]



  MR. MATSUMOTO KOSHIRO AS "TCHIKAWA GOYEMON" (THE ROBIN HOOD OF JAPAN)

                    _By _C. P. CROWTHER, _Kobe, Japan_





         [SPRING O' THE YEAR, By Helen W. Drew, Montclair, N. J.]



                           SPRING O' THE YEAR

                  _By _HELEN W. DREW, _Montclair, N. J._





          [THE LIFTING MIST, By Jerry D. Drew, Montclair, N. J.]



                            THE LIFTING MIST

                  _By _JERRY D. DREW, _Montclair, N. J._





           [THE DOORWAY, By Dwight A. Davis, Worcester, Mass.]



                               THE DOORWAY

                 _By _DWIGHT A. DAVIS, _Worcester, Mass._





            [HIGH BRIDGE, By Edward R. Dickson, New York City]



                               HIGH BRIDGE

                 _By _EDWARD R. DICKSON, _New York City_





               [MRS. VERNON CASTLE, By De Meyer, New York]



                           MRS. VERNON CASTLE

                        _By _DE MEYER, _New York_





                   [BOATS, By E. G. Dunning, New York]



                                  BOATS

                      _By _E. G. DUNNING, _New York_





       [COMING TO SCHOOL, By Vernon Everett Duroc, Brooklyn, N. Y.]



                            COMING TO SCHOOL

               _By _VERNON EVERETT DUROC, _Brooklyn, N. Y._





               [STUDY, By William B. Dyer, Portland, Ore.]



                                  STUDY

                  _By _WILLIAM B. DYER, _Portland, Ore._





     [DESIGN FOR A TAPESTRY, By John Paul Edwards, Sacramento, Cal.]



                          DESIGN FOR A TAPESTRY

                _By _JOHN PAUL EDWARDS, _Sacramento, Cal._





              [STUDY, By Adelaide Wallach Ehrich, New York]



                                  STUDY

                 _By _ADELAIDE WALLACH EHRICH, _New York_





             [LANDSCAPE, By Eleanor C. Erving, Albany, N. Y.]



                                LANDSCAPE

                 _By _ELEANOR C. ERVING, _Albany, N. Y._





         [SUGARLOAF MOUNTAIN, By W. H. Evans, Wilkes-Barre, Pa.]



                           SUGARLOAF MOUNTAIN

                  _By _W. H. EVANS, _Wilkes-Barre, Pa._





      [SIDEWALK TREASURES, By O. E. Fischer, M. D., Detroit, Mich.]



                           SIDEWALK TREASURES

               _By _O. E. FISCHER, M. D., _Detroit, Mich._





     [THE GIRL FROM DELHI, By Louis Fleckenstein, Los Angeles, Cal.]



                           THE GIRL FROM DELHI

               _By _LOUIS FLECKENSTEIN, _Los Angeles, Cal._





           [FIFTY YEARS, By Frederick Frittita, Baltimore, Md.]



                               FIFTY YEARS

                _By _FREDERICK FRITTITA, _Baltimore, Md._





             [WATER SCENE, By John Wallace Gillies, New York]



                               WATER SCENE

                  _By _JOHN WALLACE GILLIES, _New York_





      [THE MARBLE CUTTERS, By Laura Gilpin, Colorado Springs, Col.]



                           THE MARBLE CUTTERS

               _By _LAURA GILPIN, _Colorado Springs, Col._





                  [WALPI, By Forman Hanna, Globe, Ariz.]



                                  WALPI

                    _By _FORMAN HANNA, _Globe, Ariz._





          [THE SHORE LINE, By G. H. S. Harding, Berkeley, Cal.]



                             THE SHORE LINE

                 _By _G. H. S. HARDING, _Berkeley, Cal._





                  [APRIL SNOW, By Edward Heim, New York]



                               APRIL SNOW

                       _By _EDWARD HEIM, _New York_





                 [DAY DREAMS, By G. W. Harting, New York]



                               DAY DREAMS

                      _By _G. W. HARTING, _New York_





            [IN THE ARBOR, By Antoinette B. Hervey, New York]



                              IN THE ARBOR

                  _By _ANTOINETTE B. HERVEY, _New York_





              [MISS H., By George Henry High, Chicago, Ill.]



                                 MISS H.

                 _By _GEORGE HENRY HIGH, _Chicago, Ill._





                 [SUNSHINE, By L. Willis Hoops, New York]



                                SUNSHINE

                     _By _L. WILLIS HOOPS, _New York_





           [THE WHITE HAT, By G. B. Hollister, Corning, N. Y.]



                              THE WHITE HAT

                  _By _G. B. HOLLISTER, _Corning, N. Y._





             [DESIGN, By Bernard S. Horne, Princeton, N. J.]



                                 DESIGN

                _By _BERNARD S. HORNE, _Princeton, N. J._





[CITY STREET, By Blanche C. Hungerford (Mrs. Latimer), High Bridge, N. J.]



                               CITY STREET

     _By _BLANCHE C. HUNGERFORD (MRS. LATIMER), _High Bridge, N. J._





        [COLUMBIA UNIVERSITY, By Dr. Charles H. Jaeger, New York]



                           COLUMBIA UNIVERSITY

                  _By _DR. CHARLES H. JAEGER, _New York_





           [PORTRAIT OF A CHILD, By Doris U. Jaeger, New York]



                           PORTRAIT OF A CHILD

                     _By _DORIS U. JAEGER, _New York_





     [THE VALE OF THE SHADOW, By Arthur F. Kales, Los Angeles, Cal.]



                         THE VALE OF THE SHADOW

                _By _ARTHUR F. KALES, _Los Angeles, Cal._





                [PORTRAIT, By Gertrude Kasebier, New York]



                                PORTRAIT

                    _By _GERTRUDE KASEBIER, _New York_





          [OLD HILL TOWN, By William Kriebel, Philadelphia, Pa.]



                              OLD HILL TOWN

                _By _WILLIAM KRIEBEL, _Philadelphia, Pa._





             [SOLITUDE, By W. R. Latimer, High Bridge, N. J.]



                                SOLITUDE

                 _By _W. R. LATIMER, _High Bridge, N. J._





              [ELLEN, By Sophie L. Lauffer, Brooklyn, N. Y.]



                                  ELLEN

                _By _SOPHIE L. LAUFFER, _Brooklyn, N. Y._





       [MASTER JOHN SPEER, By George P. Lester, Bloomfield, N. J.]



                            MASTER JOHN SPEER

                _By _GEORGE P. LESTER, _Bloomfield, N. J._





 [MOUNT ADAMS OF THE NORTHERN LAKES, By Francis Orville Libby, Portland,

                                   Me.]



                    MOUNT ADAMS OF THE NORTHERN LAKES

               _By _FRANCIS ORVILLE LIBBY, _Portland, Me._





        [MISTS TO-DAY--CLEAR ANON, By Edwin Loker, St. Louis, Mo.]



                         MISTS TO-DAY--CLEAR ANON

                    _By _EDWIN LOKER, _St. Louis, Mo._





      [TREES AND CLOUDS, By Dr. William F. Makk, Los Angeles, Cal.]



                            TREES AND CLOUDS

              _By _DR. WILLIAM F. MAKK, _Los Angeles, Cal._





     [PLAYER ON THE YIT-KIM, By Margrethe Mather, Los Angeles, Cal.]



                          PLAYER ON THE YIT-KIM

                _By _MARGRETHE MATHER, _Los Angeles, Cal._





     [ON LAKE PATZCUARO, MEXICO, By Oscar Maurer, Los Angeles, Cal.]



                        ON LAKE PATZCUARO, MEXICO

                  _By _OSCAR MAURER, _Los Angeles, Cal._





          [ALONG THE WHARF, By Holmes I. Mettee, Baltimore, Md.]



                             ALONG THE WHARF

                 _By _HOLMES I. METTEE, _Baltimore, Md._





     [THE MARSH--EVENING, By J. George Midgley, Salt Lake City, Utah]



                            THE MARSH--EVENING

              _By _J. GEORGE MIDGLEY, _Salt Lake City, Utah_





                [THE DANCER, By H. W. Minns, Akron, Ohio]



                               THE DANCER

                     _By _H. W. MINNS, _Akron, Ohio_





           [SNOW PATTERN, By H. Remick Neeson, Baltimore, Md.]



                              SNOW PATTERN

                 _By _H. REMICK NEESON, _Baltimore, Md._





            [THE FARMER, By Henry Hoyt Moore, Brooklyn, N. Y.]



                               THE FARMER

                 _By _HENRY HOYT MOORE, _Brooklyn, N. Y._





               [STEAM UP, By J. W. Newton, Columbus, Ohio]



                                STEAM UP

                   _By _J. W. NEWTON, _Columbus, Ohio_





   [EVE REPENTENT, By Imogen Cunningham Partridge, San Francisco, Cal.]



                              EVE REPENTENT

         _By _IMOGEN CUNNINGHAM PARTRIDGE, _San Francisco, Cal._





             [SWANS, By G. Houson Payne, Jr., Baltimore, Md.]



                                  SWANS

               _By _G. HOUSON PAYNE, JR., _Baltimore, Md._





      [MOTHER AND CHILD, By Margaret Rhodes Peattie, Chicago, Ill.]



                            MOTHER AND CHILD

              _By _MARGARET RHODES PEATTIE, _Chicago, Ill._





           [PLACING A PICTURE, By Leo Pokras, Brooklyn, N. Y.]



                            PLACING A PICTURE

                    _By _LEO POKRAS, _Brooklyn, N. Y._





        [TWILIGHT'S MYSTERY, By W. H. Porterfield, Buffalo, N. Y.]



                           TWILIGHT'S MYSTERY

                 _By _W. H. PORTERFIELD, _Buffalo, N. Y._





             [THE MORNING BOAT, By E. M. Pratt, Tracy, Cal.]



                            THE MORNING BOAT

                     _By _E. M. PRATT, _Tracy, Cal._





        [SWEET SIXTEEN, By Mrs. William H. Rau, Philadelphia, Pa.]



                              SWEET SIXTEEN

              _By _MRS. WILLIAM H. RAU, _Philadelphia, Pa._





                  [MOTHER, By Jane Reece, Dayton, Ohio]



                                 MOTHER

                     _By _JANE REECE, _Dayton, Ohio_





            [THE HUSBANDMAN, By O. C. Reiter, Pittsburgh, Pa.]



                             THE HUSBANDMAN

                   _By _O. C. REITER, _Pittsburgh, Pa._





         [THE LAST OF HIS RACE, By L. M. A. Roy, La Crosse, Wis.]



                          THE LAST OF HIS RACE

                   _By _L. M. A. ROY, _La Crosse, Wis._





     [PENNSYLVANIA STATION, NEW YORK, By Dr. D. J. Ruzicka, New York]



                     PENNSYLVANIA STATION, NEW YORK

                    _By _DR. D. J. RUZICKA, _New York_





    [A GLIMPSE OF PLEASANT VALLEY, By J. G. Sarvent, Kansas City, Mo.]



                      A GLIMPSE OF PLEASANT VALLEY

                  _By _J. G. SARVENT, _Kansas City, Mo._





   [THE VALLEY BEYOND OUR HILL, By Otto C. Shulte, San Franciso, Cal.]



                       THE VALLEY BEYOND OUR HILL

                _By _OTTO C. SHULTE, _San Franciso, Cal._





       [ELYSIAN PARK VISTA, By David J. Sheahan, Los Angeles, Cal.]



                           ELYSIAN PARK VISTA

                _By _DAVID J. SHEAHAN, _Los Angeles, Cal._





 [IN THE FOOTHILLS OF THE WASATCH, By Thomas O. Sheckell, Salt Lake City,

                                  Utah]



                     IN THE FOOTHILLS OF THE WASATCH

             _By _THOMAS O. SHECKELL, _Salt Lake City, Utah_





[DOORWAY OF ST. PATRICK'S CATHEDRAL, By William Gordon Shields, New York]



                   DOORWAY OF ST. PATRICK'S CATHEDRAL

                 _By _WILLIAM GORDON SHIELDS, _New York_





           [PORTRAIT, By Mrs. Sterling Smith, San Diego, Cal.]



                                PORTRAIT

               _By _MRS. STERLING SMITH, _San Diego, Cal._





          [THE COLUMNS, By E. Radiker Standcliff, Elmira, N. Y.]



                               THE COLUMNS

               _By _E. RADIKER STANDCLIFF, _Elmira, N. Y._





        [TOWARD TAMALPAIS, By W. H. Stephens, San Franciso, Cal.]



                            TOWARD TAMALPAIS

                _By _W. H. STEPHENS, _San Franciso, Cal._





            [MAE MURRAY, By Ford Sterling, Los Angeles, Cal.]



                               MAE MURRAY

                 _By _FORD STERLING, _Los Angeles, Cal._





            [MARGARET, By John H. Stocksdale, Baltimore, Md.]



                                MARGARET

                _By _JOHN H. STOCKSDALE, _Baltimore, Md._





                  [THE CANAL, By M. Sugimoto, New York]



                                THE CANAL

                       _By _M. SUGIMOTO, _New York_





            [STILL LIFE, By Elizabeth Talcott, Elmwood, Conn.]



                               STILL LIFE

                 _By _ELIZABETH TALCOTT, _Elmwood, Conn._





      [THE HOUSE O' DREAMS, By William H. Thompson, Hartford, Conn.]



                           THE HOUSE O' DREAMS

               _By _WILLIAM H. THOMPSON, _Hartford, Conn._





[WITH FACE SET TOWARD THE WESTERN FRONT, By Lieut. Edward Larocque Tinker,

                            U. S. N.,New York]



                 WITH FACE SET TOWARD THE WESTERN FRONT

         _By _LIEUT. EDWARD LAROCQUE TINKER, U. S. N., _New York_





       [SHIFTING SAND, By Charles Vandervelde, Grand Rapids, Mich.]



                              SHIFTING SAND

             _By _CHARLES VANDERVELDE, _Grand Rapids, Mich._





 [RUTH ST. DENIS, By the late Lieut. Luke R. Vickers, Church Creek, Md.]



                             RUTH ST. DENIS

        _By _THE LATE LIEUT. LUKE R. VICKERS, _Church Creek, Md._





       [THE NEW YEAR'S EDITION, By Will H. Walker, Portland, Ore.]



                         THE NEW YEAR'S EDITION

                  _By _WILL H. WALKER, _Portland, Ore._





           [GIRL WITH THE FAN, By Mabel Watson, Pasadena, Cal.]



                            GIRL WITH THE FAN

                   _By _MABEL WATSON, _Pasadena, Cal._





               [ELEANOR, By Delight Weston, Blue Hill, Me.]



                                 ELEANOR

                  _By _DELIGHT WESTON, _Blue Hill, Me._





               [EPILOGUE, By Edward Weston, Glendale, Cal.]



                                EPILOGUE

                   _By _EDWARD WESTON, _Glendale, Cal._





             [MRS. M., By Leonard Westphalen, Chicago, Ill.]



                                 MRS. M.

                 _By _LEONARD WESTPHALEN, _Chicago, Ill._





               [THE FAMILY, By Clarence H. White, New York]



                               THE FAMILY

                    _By _CLARENCE H. WHITE, _New York_





           [THE FLOWER GARDEN, By Cornelia F. White, New York]



                            THE FLOWER GARDEN

                    _By _CORNELIA F. WHITE, _New York_





      [THROUGH THE WINDOW, By Hazel Jane Wiegner, Philadelphia, Pa.]



                           THROUGH THE WINDOW

               _By _HAZEL JANE WIEGNER, _Philadelphia, Pa._





          [MARIONETTE, By Edith R. Wilson, Mount Vernon, N. Y.]



                               MARIONETTE

               _By _EDITH R. WILSON, _Mount Vernon, N. Y._





               [JEAN, By Mildred R. Wilson, Orange, N. J.]



                                  JEAN

                 _By _MILDRED R. WILSON, _Orange, N. J._





           [CITY BEYOND, By N. S. Wooldridge, Pittsburgh, Pa.]



                               CITY BEYOND

                 _By _N. S. WOOLDRIDGE, _Pittsburgh, Pa._













THE FOLLOWING IS A PARTIAL LIST OF PHOTOGRAPHIC ORGANIZATIONS IN AMERICA

WHICH ARE ENCOURAGING PICTORIAL PHOTOGRAPHY





Bangor Society of Art

Bangor, Me.



Boston Y. M. C. U. Camera Club

48 Boylston Street, Boston, Mass.



Brooklyn Institute of Arts and Science, _Photographic Section_

Academy of Music Building, Brooklyn, N. Y.



Buffalo Camera Club

Kinne Building, corner Main and Utica Streets,

Buffalo, N. Y.



California Camera Club

833 Market Street, San Francisco, Cal.



Camera Club

121 West 68th Street, New York City



Camera Club of Detroit

513-515  Kresge Building, West Grand Circus Park, Detroit, Mich.



Camera Pictorialists of Los Angeles

415 Blanchard Building, Los Angeles, Cal.



Chicago Camera Club

31 West Lake Street, Chicago, Ill.



Camera Pictorialists of Columbus

40 North High Street, Columbus, Ohio



Elmira Camera Club

116 Baldwin Street, Elmira, N. Y.



Grand Rapids Camera Club

2 Central Place, N. E., Grand Rapids, Mich.



Missouri Camera Club

706 Merchants-Laclede Building, 408 Olive Street, St. Louis, Mo.



Newark Camera Club

878 Broad Street, Newark, N. J.



Orange Camera Club

Main and Clinton Streets, Orange, N. J.



Oregon Camera Club

Elks Building, Portland, Oregon



Photographic Guild of the Society of Arts and Crafts

Boston, Mass.



Photo Fellows of the World

_Dean_, Sigismund Blumann, 3217 Davis Street, Fruitvale, Cal.



Photographic Guild of Baltimore

Baltimore, Md.



Pittsburgh Academy of Science and Art, _Photographic Section_

Carnegie Institute, Schenley Park, Pittsburgh, Pa.

The Pittsburgh Salon of Photographic Art



Portland Camera Club. _Photographic Section of the Portland Society of

            Art_

Corner Spring and High Streets, Portland, Me.



Toledo Camera Club

Museum of Art, Toledo, Ohio



Toronto Camera Club

2 Gould Street, Toronto, Ontario, Canada



Wilkes-Barre Camera Club

Poli Building,  131  South  Main Street, Wilkes-Barre, Pa.



                              --------------



The reproductions in this Annual were selected from a group of nearly 1100

photographs. Of the 100 artists whose prints are now reproduced:



36 are new workers.  16 were unknown to the judges.  32 are workers of

recent years. 16 are old workers.



A further computation shows that 56 are members of the Association, while

44 are non-members.



                [Advertisement: The Smith Synthetic Lens]

                  [Advertisement: Ensign Reflex Cameras]

   [Advertisements: Japan Paper Company and Clarence H. White School of

                              Photography ]

           [Advertisements: Willoughby's and Willis & Clements]

      [Advertisements: George Murphy, Inc. and The Photo-Miniature]

    [Advertisements: Spencer Lens Co. and C. P. Goerz American Optical

                                 Company]

 [Advertisements: Wallace Chemical Company and Wollensak Optical Company]











***END OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1920***







CREDITS





February 7, 2008



            Project Gutenberg Edition

            Martin Schub







A WORD FROM PROJECT GUTENBERG





This file should be named 28015.txt or 28015.zip.



This and all associated files of various formats will be found in:





    http://www.gutenberg.org/dirs/2/8/0/1/28015/





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. Special rules, set forth in the

General Terms of Use part of this license, apply to copying and

distributing Project Gutenberg{~TRADE MARK SIGN~} electronic works to protect the Project

Gutenberg{~TRADE MARK SIGN~} concept and trademark. Project Gutenberg is a registered

trademark, and may not be used if you charge for the eBooks, unless you

receive specific permission. If you do not charge anything for copies of

this eBook, complying with the rules is very easy. You may use this eBook

for nearly any purpose such as creation of derivative works, reports,

performances and research. They may be modified and printed and given away

-- you may do practically _anything_ with public domain eBooks.

Redistribution is subject to the trademark license, especially commercial

redistribution.







THE FULL PROJECT GUTENBERG LICENSE





_Please read this before you distribute or use this work._



To protect the Project Gutenberg{~TRADE MARK SIGN~} mission of promoting the free

distribution of electronic works, by using or distributing this work (or

any other work associated in any way with the phrase "Project Gutenberg"),

you agree to comply with all the terms of the Full Project Gutenberg{~TRADE MARK SIGN~}

License (available with this file or online at

http://www.gutenberg.org/license).





Section 1.





General Terms of Use & Redistributing Project Gutenberg{~TRADE MARK SIGN~} electronic works





1.A.





By reading or using any part of this Project Gutenberg{~TRADE MARK SIGN~} electronic work,

you indicate that you have read, understand, agree to and accept all the

terms of this license and intellectual property (trademark/copyright)

agreement. If you do not agree to abide by all the terms of this

agreement, you must cease using and return or destroy all copies of

Project Gutenberg{~TRADE MARK SIGN~} electronic works in your possession. If you paid a fee

for obtaining a copy of or access to a Project Gutenberg{~TRADE MARK SIGN~} electronic work

and you do not agree to be bound by the terms of this agreement, you may

obtain a refund from the person or entity to whom you paid the fee as set

forth in paragraph 1.E.8.





1.B.





"Project Gutenberg" is a registered trademark. It may only be used on or

associated in any way with an electronic work by people who agree to be

bound by the terms of this agreement. There are a few things that you can

do with most Project Gutenberg{~TRADE MARK SIGN~} electronic works even without complying

with the full terms of this agreement. See paragraph 1.C below. There are

a lot of things you can do with Project Gutenberg{~TRADE MARK SIGN~} electronic works if you

follow the terms of this agreement and help preserve free future access to

Project Gutenberg{~TRADE MARK SIGN~} electronic works. See paragraph 1.E below.





1.C.





The Project Gutenberg Literary Archive Foundation ("the Foundation" or

PGLAF), owns a compilation copyright in the collection of Project

Gutenberg{~TRADE MARK SIGN~} electronic works. Nearly all the individual works in the

collection are in the public domain in the United States. If an individual

work is in the public domain in the United States and you are located in

the United States, we do not claim a right to prevent you from copying,

distributing, performing, displaying or creating derivative works based on

the work as long as all references to Project Gutenberg are removed. Of

course, we hope that you will support the Project Gutenberg{~TRADE MARK SIGN~} mission of

promoting free access to electronic works by freely sharing Project

Gutenberg{~TRADE MARK SIGN~} works in compliance with the terms of this agreement for

keeping the Project Gutenberg{~TRADE MARK SIGN~} name associated with the work. You can

easily comply with the terms of this agreement by keeping this work in the

same format with its attached full Project Gutenberg{~TRADE MARK SIGN~} License when you

share it without charge with others.





1.D.





The copyright laws of the place where you are located also govern what you

can do with this work. Copyright laws in most countries are in a constant

state of change. If you are outside the United States, check the laws of

your country in addition to the terms of this agreement before

downloading, copying, displaying, performing, distributing or creating

derivative works based on this work or any other Project Gutenberg{~TRADE MARK SIGN~} work.

The Foundation makes no representations concerning the copyright status of

any work in any country outside the United States.





1.E.





Unless you have removed all references to Project Gutenberg:





1.E.1.





The following sentence, with active links to, or other immediate access

to, the full Project Gutenberg{~TRADE MARK SIGN~} License must appear prominently whenever

any copy of a Project Gutenberg{~TRADE MARK SIGN~} work (any work on which the phrase

"Project Gutenberg" appears, or with which the phrase "Project Gutenberg"

is associated) is accessed, displayed, performed, viewed, copied or

distributed:





    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





1.E.2.





If an individual Project Gutenberg{~TRADE MARK SIGN~} electronic work is derived from the

public domain (does not contain a notice indicating that it is posted with

permission of the copyright holder), the work can be copied and

distributed to anyone in the United States without paying any fees or

charges. If you are redistributing or providing access to a work with the

phrase "Project Gutenberg" associated with or appearing on the work, you

must comply either with the requirements of paragraphs 1.E.1 through 1.E.7

or obtain permission for the use of the work and the Project Gutenberg{~TRADE MARK SIGN~}

trademark as set forth in paragraphs 1.E.8 or 1.E.9.





1.E.3.





If an individual Project Gutenberg{~TRADE MARK SIGN~} electronic work is posted with the

permission of the copyright holder, your use and distribution must comply

with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed

by the copyright holder. Additional terms will be linked to the Project

Gutenberg{~TRADE MARK SIGN~} License for all works posted with the permission of the

copyright holder found at the beginning of this work.





1.E.4.





Do not unlink or detach or remove the full Project Gutenberg{~TRADE MARK SIGN~} License

terms from this work, or any files containing a part of this work or any

other work associated with Project Gutenberg{~TRADE MARK SIGN~}.





1.E.5.





Do not copy, display, perform, distribute or redistribute this electronic

work, or any part of this electronic work, without prominently displaying

the sentence set forth in paragraph 1.E.1 with active links or immediate

access to the full terms of the Project Gutenberg{~TRADE MARK SIGN~} License.





1.E.6.





You may convert to and distribute this work in any binary, compressed,

marked up, nonproprietary or proprietary form, including any word

processing or hypertext form. However, if you provide access to or

distribute copies of a Project Gutenberg{~TRADE MARK SIGN~} work in a format other than

"Plain Vanilla ASCII" or other format used in the official version posted

on the official Project Gutenberg{~TRADE MARK SIGN~} web site (http://www.gutenberg.org),

you must, at no additional cost, fee or expense to the user, provide a

copy, a means of exporting a copy, or a means of obtaining a copy upon

request, of the work in its original "Plain Vanilla ASCII" or other form.

Any alternate format must include the full Project Gutenberg{~TRADE MARK SIGN~} License as

specified in paragraph 1.E.1.





1.E.7.





Do not charge a fee for access to, viewing, displaying, performing,

copying or distributing any Project Gutenberg{~TRADE MARK SIGN~} works unless you comply

with paragraph 1.E.8 or 1.E.9.





1.E.8.





You may charge a reasonable fee for copies of or providing access to or

distributing Project Gutenberg{~TRADE MARK SIGN~} electronic works provided that



    - You pay a royalty fee of 20% of the gross profits you derive from

      the use of Project Gutenberg{~TRADE MARK SIGN~} works calculated using the method you

      already use to calculate your applicable taxes. The fee is owed to

      the owner of the Project Gutenberg{~TRADE MARK SIGN~} trademark, but he has agreed to

      donate royalties under this paragraph to the Project Gutenberg

      Literary Archive Foundation. Royalty payments must be paid within 60

      days following each date on which you prepare (or are legally

      required to prepare) your periodic tax returns. Royalty payments

      should be clearly marked as such and sent to the Project Gutenberg

      Literary Archive Foundation at the address specified in Section 4,

      "Information about donations to the Project Gutenberg Literary

      Archive Foundation."



      You provide a full refund of any money paid by a user who notifies

      you in writing (or by e-mail) within 30 days of receipt that s/he

      does not agree to the terms of the full Project Gutenberg{~TRADE MARK SIGN~} License.

      You must require such a user to return or destroy all copies of the

      works possessed in a physical medium and discontinue all use of and

      all access to other copies of Project Gutenberg{~TRADE MARK SIGN~} works.



      You provide, in accordance with paragraph 1.F.3, a full refund of

      any money paid for a work or a replacement copy, if a defect in the

      electronic work is discovered and reported to you within 90 days of

      receipt of the work.



      You comply with all other terms of this agreement for free

      distribution of Project Gutenberg{~TRADE MARK SIGN~} works.





1.E.9.





If you wish to charge a fee or distribute a Project Gutenberg{~TRADE MARK SIGN~} electronic

work or group of works on different terms than are set forth in this

agreement, you must obtain permission in writing from both the Project

Gutenberg Literary Archive Foundation and Michael Hart, the owner of the

Project Gutenberg{~TRADE MARK SIGN~} trademark. Contact the Foundation as set forth in

Section 3 below.





1.F.





1.F.1.





Project Gutenberg volunteers and employees expend considerable effort to

identify, do copyright research on, transcribe and proofread public domain

works in creating the Project Gutenberg{~TRADE MARK SIGN~} collection. Despite these

efforts, Project Gutenberg{~TRADE MARK SIGN~} electronic works, and the medium on which they

may be stored, may contain "Defects," such as, but not limited to,

incomplete, inaccurate or corrupt data, transcription errors, a copyright

or other intellectual property infringement, a defective or damaged disk

or other medium, a computer virus, or computer codes that damage or cannot

be read by your equipment.





1.F.2.





LIMITED WARRANTY, DISCLAIMER OF DAMAGES -- Except for the "Right of

Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg

Literary Archive Foundation, the owner of the Project Gutenberg{~TRADE MARK SIGN~}

trademark, and any other party distributing a Project Gutenberg{~TRADE MARK SIGN~}

electronic work under this agreement, disclaim all liability to you for

damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE

NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH

OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE

FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT

WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,

PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY

OF SUCH DAMAGE.





1.F.3.





LIMITED RIGHT OF REPLACEMENT OR REFUND -- If you discover a defect in this

electronic work within 90 days of receiving it, you can receive a refund

of the money (if any) you paid for it by sending a written explanation to

the person you received the work from. If you received the work on a

physical medium, you must return the medium with your written explanation.

The person or entity that provided you with the defective work may elect

to provide a replacement copy in lieu of a refund. If you received the

work electronically, the person or entity providing it to you may choose

to give you a second opportunity to receive the work electronically in

lieu of a refund. If the second copy is also defective, you may demand a

refund in writing without further opportunities to fix the problem.





1.F.4.





Except for the limited right of replacement or refund set forth in

paragraph 1.F.3, this work is provided to you 'AS-IS,' WITH NO OTHER

WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO

WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.





1.F.5.





Some states do not allow disclaimers of certain implied warranties or the

exclusion or limitation of certain types of damages. If any disclaimer or

limitation set forth in this agreement violates the law of the state

applicable to this agreement, the agreement shall be interpreted to make

the maximum disclaimer or limitation permitted by the applicable state

law. The invalidity or unenforceability of any provision of this agreement

shall not void the remaining provisions.





1.F.6.





INDEMNITY -- You agree to indemnify and hold the Foundation, the trademark

owner, any agent or employee of the Foundation, anyone providing copies of

Project Gutenberg{~TRADE MARK SIGN~} electronic works in accordance with this agreement, and

any volunteers associated with the production, promotion and distribution

of Project Gutenberg{~TRADE MARK SIGN~} electronic works, harmless from all liability, costs

and expenses, including legal fees, that arise directly or indirectly from

any of the following which you do or cause to occur: (a) distribution of

this or any Project Gutenberg{~TRADE MARK SIGN~} work, (b) alteration, modification, or

additions or deletions to any Project Gutenberg{~TRADE MARK SIGN~} work, and (c) any Defect

you cause.





Section  2.





           Information about the Mission of Project Gutenberg{~TRADE MARK SIGN~}





Project Gutenberg{~TRADE MARK SIGN~} is synonymous with the free distribution of electronic

works in formats readable by the widest variety of computers including

obsolete, old, middle-aged and new computers. It exists because of the

efforts of hundreds of volunteers and donations from people in all walks

of life.



Volunteers and financial support to provide volunteers with the assistance

they need, is critical to reaching Project Gutenberg{~TRADE MARK SIGN~}'s goals and ensuring

that the Project Gutenberg{~TRADE MARK SIGN~} collection will remain freely available for

generations to come. In 2001, the Project Gutenberg Literary Archive

Foundation was created to provide a secure and permanent future for

Project Gutenberg{~TRADE MARK SIGN~} and future generations. To learn more about the Project

Gutenberg Literary Archive Foundation and how your efforts and donations

can help, see Sections 3 and 4 and the Foundation web page at

http://www.pglaf.org.





Section 3.





   Information about the Project Gutenberg Literary Archive Foundation





The Project Gutenberg Literary Archive Foundation is a non profit

501(c)(3) educational corporation organized under the laws of the state of

Mississippi and granted tax exempt status by the Internal Revenue Service.

The Foundation's EIN or federal tax identification number is 64-6221541.

Its 501(c)(3) letter is posted at

http://www.gutenberg.org/fundraising/pglaf. Contributions to the Project

Gutenberg Literary Archive Foundation are tax deductible to the full

extent permitted by U.S. federal laws and your state's laws.



The Foundation's principal office is located at 4557 Melan Dr.

S. Fairbanks, AK, 99712., but its volunteers and employees are scattered

throughout numerous locations. Its business office is located at 809 North

1500 West, Salt Lake City, UT 84116, (801) 596-1887, email

business@pglaf.org. Email contact links and up to date contact information

can be found at the Foundation's web site and official page at

http://www.pglaf.org



For additional contact information:





    Dr. Gregory B. Newby

    Chief Executive and Director

    gbnewby@pglaf.org





Section 4.





  Information about Donations to the Project Gutenberg Literary Archive

                                Foundation





Project Gutenberg{~TRADE MARK SIGN~} depends upon and cannot survive without wide spread

public support and donations to carry out its mission of increasing the

number of public domain and licensed works that can be freely distributed

in machine readable form accessible by the widest array of equipment

including outdated equipment. Many small donations ($1 to $5,000) are

particularly important to maintaining tax exempt status with the IRS.



The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United States.

Compliance requirements are not uniform and it takes a considerable

effort, much paperwork and many fees to meet and keep up with these

requirements. We do not solicit donations in locations where we have not

received written confirmation of compliance. To SEND DONATIONS or

determine the status of compliance for any particular state visit

http://www.gutenberg.org/fundraising/donate



While we cannot and do not solicit contributions from states where we have

not met the solicitation requirements, we know of no prohibition against

accepting unsolicited donations from donors in such states who approach us

with offers to donate.



International donations are gratefully accepted, but we cannot make any

statements concerning tax treatment of donations received from outside the

United States. U.S. laws alone swamp our small staff.



Please check the Project Gutenberg Web pages for current donation methods

and addresses. Donations are accepted in a number of other ways including

checks, online payments and credit card donations. To donate, please

visit: http://www.gutenberg.org/fundraising/donate





Section 5.





      General Information About Project Gutenberg{~TRADE MARK SIGN~} electronic works.





Professor Michael S. Hart is the originator of the Project Gutenberg{~TRADE MARK SIGN~}

concept of a library of electronic works that could be freely shared with

anyone. For thirty years, he produced and distributed Project Gutenberg{~TRADE MARK SIGN~}

eBooks with only a loose network of volunteer support.



Project Gutenberg{~TRADE MARK SIGN~} eBooks are often created from several printed editions,

all of which are confirmed as Public Domain in the U.S. unless a copyright

notice is included. Thus, we do not necessarily keep eBooks in compliance

with any particular paper edition.



Each eBook is in a subdirectory of the same number as the eBook's eBook

number, often in several formats including plain vanilla ASCII, compressed

(zipped), HTML and others.



Corrected _editions_ of our eBooks replace the old file and take over the

old filename and etext number. The replaced older file is renamed.

_Versions_ based on separate sources are treated as new eBooks receiving

new filenames and etext numbers.



Most people start at our Web site which has the main PG search facility:





    http://www.gutenberg.org





This Web site includes information about Project Gutenberg{~TRADE MARK SIGN~}, including how

to make donations to the Project Gutenberg Literary Archive Foundation,

how to help produce our new eBooks, and how to subscribe to our email

newsletter to hear about new eBooks.













***FINIS***

