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Title: Pictorial Photography in America 1921



Author: Pictorial Photographers of America



Release Date: February 8, 2009 [Ebook #28023]



Language: English



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***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 8x10 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 61/2x81/2 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 5x7 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 11x14 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

11x14 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 4x5

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 61/2x81/2 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 14x17 _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 45x107 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 61/2x81/2 or 8x10.  "In an Italian Village" was

an 8x10 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 45x107 mm. stereo, a

little larger than my thumb-nail.  The enlarged negative is 11x14.  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

8x10 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 4x5, 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 6x8.  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 21/4x31/4.  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

8x10 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 11x14 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 11x14 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

11x14 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 61/2x81/2 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***







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