,pictorial ,photography in ,america #aiba ,pictorial ,photographers of ,america ,new ,york #aiba ,editorial ,board ,,clarence ,h4 ,,white ,,henry ,,hoyt ,,moore ,,dwight ,a4 ,,davis ,,john ,,paul ,,edwards ,committee on ,publication ,,henry ,,hoyt ,,moore ,,walter ,l4 ,,ehrich ,,ray ,,greenleaf ,,john ,a4 ,,tennant ,,illustrations ,,the ,,hampton ,,singer ,by ,,dorothy ,,abbott1 ,new ,york ,city ,,the ,,arch ,,of ,,jewels1 ,,new ,,york ,,city ,by ,,william ,a4 ,,alcock1 ,new ,york ,city ,,willow ,,valley ,by ,,charles ,k4 ,,archer1 ,pittsburgh1 ,pa4 ,,prayers ,,of ,,buddha ,by ,f4 ,,bauer1 ,san ,francisco1 ,cal4 ,,the ,,swans ,by ,,jesse ,,tarbox ,,beals1 ,new ,york ,city ,,above ,,the ,,clouds ,by ,,clark ,,blickensderfer1 ,denver1 ,colo4 ,,gramercy ,,park ,by ,,mary ,f4 ,,boyd1 ,chambersburg1 ,pa4 ,,hill ,,top--,,winter ,by ,,george ,,butler1 ,worcester1 ,mass4 ,,weissthurm--,,rotenburg ,o4 ,,tauber ,by ,a4 ,d4 ,,chaffee1 ,new ,york ,city ,,cables ,by ,,arthur ,d4 ,,chapman1 ,west ,hoboken1 ,n4,j4 ,,bookplate ,by ,,alfred ,,cohn1 ,brooklyn1 ,n4,y4 ,,the ,,bugle ,,call ,by ,,dwight ,a4 ,,davis1 ,worcester1 ,mass4 ,,the ,,bridge ,by ,,john ,,paul ,,edwards1 ,sacramento1 ,california ,,my ,,father ,by ,,vernon ,e4 ,,duroe1 ,brooklyn1 ,n4,y4 ,,maids ,o' ,,the ,,mist ,by ,,mr4 ,,and ,,mrs4 ,j4 ,d4 ,,drew1 ,montclair1 ,n4,j4 ,,afternoon ,,tea ,by ,,eleanor ,c4 ,,erving1 ,albany1 ,n4,y4 ,,summer ,,portrait ,by ,,laura ,,gilpin1 ,colorado ,springs1 ,colo4 ,,sunlight--,,taos ,by ,,forman ,,hanna1 ,globe1 ,arizona ,,dick',s ,,stall ,by ,g4 ,w4 ,,harting1 ,new ,york ,city ,,beth-,,el ,by ,,edward ,,heim1 ,new ,york ,city ,,the ,,toilers ,by ,,eugene ,p4 ,,henry1 ,brooklyn1 ,n4,y4 ,,arches ,,of ,,the ,,municipal ,,building ,by ,,atoinette ,b4 ,,hervey1 ,new ,york ,city ,,morning--,,plymouth ,by ,,lillian ,m4 ,,hobart1 ,northborough1 ,mass4 ,,last ,,of ,,the ,,square ,,riggers ,by ,g4 ,,buell ,,and ,,hebe ,,hollister1 ,corning1 ,n4,y4 ,,war ,,veterans ,by ,,millie ,,hoops1 ,new ,york ,city ,,still ,,life ,by ,d4 ,s4 ,,horne1 ,princeton1 ,n4,j4 ,,the ,,sunshine ,,of ,,johnnie',s ,,smile ,by ,,roberta ,,hostetler1 ,davenport1 ,iowa ,,sun ,,drying ,by ,h4 ,a4 ,,hussey1 ,berkeley1 ,cal4 ,,portrait ,by ,,doris ,u4 ,,jaeger1 ,new ,york ,city ,,the ,,pipes ,,of ,,pan ,by ,,myers ,r4 ,,jones1 ,brooklyn1 ,n4,y4 ,,in ,,an ,,italian ,,village ,by ,h4 ,a4 ,,latimer1 ,boston1 ,mass4 ,,crow',s ,,nest ,,restaurant ,by ,,sophie ,l4 ,,lauffer1 ,brooklyn1 ,n4,y4 ,,the ,,quarry ,by ,,george ,p4 ,,lester1 ,bloomfield1 ,n4 ,j4 ,,detail ,,of ,,california ,,building ,by ,,florence ,,burton ,,livingston1 ,mohegan ,lake1 ,n4,y4 ,,sunbeams ,by ,,ben ,j4 ,,lubschez1 ,new ,york ,city ,,along ,,the ,,canal ,by ,,william ,,elbert ,,macnaughton1 ,brooklyn1 ,n4,y4 ,,spring ,by ,,holmes ,i4 ,,mettee1 ,arlington1 ,md4 ,,sympathy ,by ,,hervey ,w4 ,,minns1 ,kenmore1 ,ohio ,,the ,,meadow ,by ,,robert ,b4 ,,montgomery1 ,brooklyn1 ,n4,y4 ,,the ,,railway ,,station ,by ,,henry ,,hoyt ,,moore1 ,brooklyn1 ,n4,y4 ,,cultivating ,by ,l4 ,,pokras1 ,brooklyn1 ,n4 ,y4 ,,portrait--,,miss ,f4 ,by ,,arthur ,,racicot1 ,quantico1 ,va4 ,,to ,,the ,,unknown ,,shore ,by ,,lawrence ,c4 ,,randall1 ,columbus1 ,ohio ,,the ,,east ,,river ,by ,d4 ,j4 ,,ruzicka1 ,new ,york ,city ,,closing ,,of ,,an ,,autumn ,,day ,by ,j4 ,g4 ,,sarvent1 ,kansas ,city1 ,mo4 ,,the ,,vanishing ,,road ,by ,,otto ,c4 ,,shulte1 ,san ,francisco1 ,cal4 ,,the ,,hour ,,of ,,twilight ,by ,,william ,,gordon ,,shields1 ,new ,york ,city ,a ,,song ,by ,,guy ,,spencer1 ,new ,york ,city ,,open-,,air ,,pulpit1 ,,grace ,,church ,by ,,elizabeth ,g4 ,,stoltz1 ,marion1 ,ohio ,l',,entre',,acte ,by ,,mankichi ,,sugimoto1 ,new ,york ,city ,,farmyard ,by ,,george ,p4 ,,swain1 ,east ,orange1 ,n4,j4 ,,carlotta ,by ,,lacy ,,van ,,wagenen1 ,orange1 ,n4,j4 ,,mrs4 ,,pickford ,by ,,mabel ,,watson1 ,pasadena1 ,california ,,the ,,little ,,art ,,shop--,,woodstock ,by ,,anthony ,j4 ,,weis1 ,new ,york ,city ,,the ,,dance ,by ,,delight ,,weston1 ,blue ,hill1 ,maine ,,sisters ,by ,,clarence ,h4 ,,white1 ,new ,york ,city ,,sand ,,dune ,by ,,mildred ,,ruth ,,wilson1 ,flushing1 ,long ,island ,advertisement3 ,pinkham and ,smith ,company ,advertisement3 ,eastman ,kodak ,company ,advertisement3 ,ansco ,company ,advertisement3 ,ica-,contessa ,advertisements3 ,kalogen2 ,willis and ,clements ,advertisements3 ,japan ,paper ,company2 ,george ,murphy1 ,inc4 ,advertisements3 ,fred'k ,w4 ,keasbey1 ,abe ,cohen's ,exchange ,advertisements3 ,wollensack ,optical ,company2 ,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 ,college1 ,columbia ,university ,the painter need not always paint with brushes1 he can paint with light itself4 ,modern photography has brought light under control and made it as truly art-material as pigment or clay4 ,the old etchers turned chemical action to the service of ,art4 ,the modern photographer does the same1 using the mysterious forces of nature as agents in making his thoughts visible4 ,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 shutter4 ,the shutter and the dark room are still acting1 but now we can hold the fleeting vision4 ,while we rejoice in the triumph of ,science it is the triumph of ,art that concerns us most4 ,the photographer has demonstrated that his work need not be mechanical imitation4 ,he can control the quality of his lines1 the spacing of his masses1 the depth of his tones and the harmony of his gradations4 ,he can eliminate detail1 keeping only the significant4 ,more than this1 he can reveal the secrets of personality4 ,what is this but ,art8 ,just here we must remember that neither light1 nor chemicals1 nor camera1 nor nature tell us anything of ,art--that ,art is not the child of ,knowledge or ,science or ,nature1 but is born of trained ,appreciation in the soul of man4 ,he that would paint with light must be first of all a ,designer4 ,his chief concern will be to find and use his own powers of choice and appreciation4 ,he will need the studio more than the laboratory4 8,what is ,design80 ,ask ,korin1 ,hiroshige1 ,giotto1 ,rembrandt1 ,titian2 ask the master-photographers who can build harmonies of line and space and texture4 ,but the secret is not revealed by asking1 only by ,,doing4 ,,the ,,year',s ,,progress ,by ,,clarence ,h4 ,,white ,an ,interview with ,henry ,hoyt ,moore 8,what notable events1 ,mr4 ,white1 have occurred in the photographic world during the year #aibj80 8,perhaps no outstanding event1 either on the art side or the scientific aspect of photography1 has marked the year4 ,a steady progress1 however1 in the direction of a better appreciation of photographic art is apparent4 ,this is seen1 for one thing1 in the numerous exhibitions that have been held4 ,confining our attention to ,american exhibitions1 ,i would remark that instead of1 as in former years1 having one big exhibition in ,baltimore or ,philadelphia or some other city1 there are now active centers all over the country--there is a regularly established international salon in ,los ,angeles1 and the well-known ,pittsburgh ,salon1 and regularly established exhibitions in ,portland and ,toronto4 ,there are groups of enthusiastic workers in all these centers4 ,there are also exhibitions of photographic art regularly held in many of the museums of the country40 ,,american ,,photographers ,,set ,,the ,,pace 8,i once heard a well-known photographic worker say1 #8,if you have any doubt as to the pictorial quality of a photograph1 send it to the ,london ,salon and their judgment will decide for you4' ,is this still true80 8,i still feel that the ,american photographers set the pace1 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 work3 #ce ,russell ,square1 ,london1 ,september1 #aibj4 ,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 difficulty4 ,those selected by the judges have been placed in the exhibition1 but the ,council of the ,society feel that it would be most unfortunate if the collection generally could not be viewed by the ,english public1 and it is proposed that the bulk of the ,american and ,canadian pictures1 including those shown at the ,annual ,exhibition1 should form one of our house exhibitions and be open to the public during the last part of ,january and the beginning of ,february1 #aiba4 ,j4 ,,mcintosh1 ,secretary ,,the ,,soft ,,focus ,,lens 8,what changes in the past twenty years1 ,mr4 ,white1 would you say have been most noticeable in photographic work80 8,well1 ,i would say the most noticeable is what we call the use of the soft focus lens4 ,secondly1 ,i would say another noticeable change is the better general quality of photographic work4 ,i feel that the photographers of today have a better idea of picture construction40 8,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 country80 8,very definitely so4 ,the interest in pictorial photography twenty years ago was confined to a small group4 ,there are now groups in various centers as large as the national group of the early days40 ,,no ,,one ,,lens ,,is ,,sufficient 8,getting down to a practical question for a moment1 ,mr4 ,white1 do you recommend a soft focus lens for small cameras1 the work to be enlarged with a sharp lens1 or do you recommend the reverse process80 8,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 purposes4 ,i sometimes feel that an anastigmat lens is best and sometimes that a soft focus lens is best for some particular work1 and sometimes ,i feel that if ,i could get only one ,i would prefer an anastigmat to a soft focus40 ,,softness ,,desirable1 ,,not ,,fuzziness 8,is there a tendency1 as shown in the work seen in the magazines1 the exhibitions1 and the photographs selected for the present ,annual1 to get rid of fuzziness and substitute a rational degree of softness and atmospheric effect80 8,i would say that the reproductions that we see in the magazines do not in all cases represent lens work but1 ,i fear1 bad printing sometimes4 ,there is often a good definite quality in soft focus lens work that looks very definite indeed1 even more definite than a sharp lens will give4 ,fuzziness is bad1 but not softness4 ,the soft focus lens seems to be more popular than ever and it apparently has come to stay40 ,,professional ,,photography ,,influenced ,,by ,,that ,,of ,,the ,,pictorialist 8,has the professional photography of today been influenced1 in your judgment1 by the work of the pictorialists80 8,yes1 very decidedly1 and the professionals confess it4 ,the best professional photographers freely admit that they have drawn much inspiration from the pictorial workers' ideas40 ,,the ,,popular ,,mediums 8,what medium--gum1 multiple gum1 bromoil1 platinum1 bromide1 chloride--is most popular today80 8,bromide and chloride are the most popular4 ,that this is so is probably because they are easier to use2 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 quality1 such as bromoil1 gum1 and gum platinum4 ,i would say that these processes are more popular than they used to be40 ,,color ,,photography 8,has color photography made any advance during the year8 ,are autochromes still popular8 ,has any progress been made in the direction of producing color photography on paper80 8,i do not know of any special progress in this branch of the art4 ,color photography on paper has been worked out successfully by ,mr4 ,ives1 and ,i think the difficulty in obtaining materials has temporarily affected the popularity of color photography in this country40 8,is the color process used to any extent for portraiture in the ,united ,states80 8,i do not think it is used to any great extent1 but ,i believe that it has great possibilities and that it can be used if workers will take the necessary care and pains4 ,i think the difficulty of getting material recently has set things back along this line40 ,,the 8,,secret0 ,,is ,,the ,,artist 8,have the so-called pictorial photographers any #8secrets8' ,people often ask1 #8,how are these effects produced8' ,what is the best method of producing soft1 atmospheric pictures8 ,can a skilled worker take an ordinary hard negative and1 by suitable manipulation or the use of soft paper1 produce an atmospheric print8 ,is the medium the secret8 ,will one paper or developer produce soot and whitewash effects and another a picture8 ,are soft effects generally produced by manipulation in developing negatives or prints80 8,i believe the quality of a picture is not due to the medium by which it was made4 ,it depends entirely on the man who made it4 ,i think one man can make a good print on soft paper and another a good print on hard paper4 ,i do not think the medium makes the picture4 ,i think the medium produces the picture to some extent1 but it does not make the picture40 ,,hand ,,work ,,vs4 ,,straight ,,prints 8,what are the limits of hand work that are legitimate in photography8 ,i don't like to use the word faking1 but most people would so describe it4 ,i mean1 for instance1 putting in skies1 blocking out obtrusive backgrounds1 sunning down high lights1 retouching negatives1 printing through prepared masks that entirely alter the negative1 and pencil or air brush work on prints80 8,i do not have any objection to anybody using any methods that he pleases providing that the result is convincing2 and ,i believe that practically every one of these means has been used successfully1 in making pictures4 ,on the other hand1 some of the best and probably more good pictures have been produced by not using any of them--that is1 by making the picture straight40 ,,commercial ,,possibilities ,,for ,,pictorial ,,work 8,are there commercial possibilities at present for pictorial photographers8 ,has the public shown an increasing desire to buy soft focus pictures8 ,is there a demand on the part of magazines and newspapers for pictorial work80 8,there is a very definite demand on the part of both magazines and newspapers for soft focus pictures4 ,in fact1 sometimes the art editors1 in their eagerness to get soft focus work1 will buy a photograph because it is fuzzy1 without regard to its quality4 ,but the outlook for the pictorial worker in its financial possibilities is steadily improving40 ,,airplane ,,photography 8,has any pictorial work been done in connection with airplane photography8 ,is the apparatus for this sort of work too expensive for anything besides military or movie use80 8,at present ,i do not know personally of any pictorial work being done in this direction1 but ,i have seen reproductions in newspapers of pictures from airplanes that show most interesting results4 ,airplane photographers as a rule do not as yet put into their work a marked pictorial quality40 ,,elaborate ,,apparatus ,,not ,,always ,,necessary 8,have any notable inventions marked the year8 ,is the photostat coming into use and has it any value other than commercial8 ,do you recommend one of the new high-priced enlarging cameras1 which focus the lens automatically on any size of paper1 as suitable for clubs to purchase80 8,well1 ,i must confess that ,i have only heard of it1 and the price seems to be such as to discourage almost all the pictorial workers that ,i know4 ,in my observation of the work that has been done by pictorialists1 the very fact that in many instances they use makeshift apparatus has resulted in some of the most beautiful effects in their work4 ,good apparatus is of course desirable1 but there are happy accidents with the other sort4 ,it is the workman1 not his tools1 that counts4 ,get the best tools if you can afford them1 but remember that you can make just as bad pictures with an expensive outfit as you can with the cheapest40 ,,how ,,mr4 ,,white ,,judges ,a ,,photograph 8,many persons would like to know1 ,mr4 ,white1 what are the criteria used by advanced workers like yourself in judging a photograph4 ,do you allow so many points for composition1 for technique1 for originality of conception1 or for success in a difficult medium8 ,or do you say1 #8,that picture pleases me1 and ,i vote for it1' without attempting to state in mathematical form the qualities of its success as a picture80 8,i would say that the first thing a man should do in judging pictures is to answer the appeal of the picture4 ,i think a picture should have a message--that is1 it should convey1 not necessarily a story1 but something of the feeling of the man who produced it4 ,this is really a difficult question to answer4 ,i would say1 #8,that picture pleases me and ,i vote for it4' ,that is to say1 so many points for technique and so many points for pictorial quality would mean nothing to me4 ,i would insist that a picture have an appeal1 and then that it have good construction1 and it should have quality4 ,the printing medium1 as ,i have said1 doesn't make the picture1 but the man who uses it40 ,,motion ,,pictures ,,and ,,the ,,soft ,,focus ,,lens 8,probably photography's greatest activity at present is in the motion picture field4 ,have soft focus lenses been used for producing screen plays and with what result80 8,soft focus lenses are being used in motion picture photography1 but ,i am doubtful as to their success in the way they are being used at present--a somewhat haphazard way4 ,you are too conscious of the soft focus lens and of the anastigmatic lens4 ,that is1 one part of the picture is made with a soft focus lens and one with an anastigmatic4 ,i believe that the soft focus lens can be used1 and will be used1 in such a way as to give beautiful results on the screen40 ,,is ,,photography ,,to ,,remain ,a ,,black ,,and ,,white ,,art8 8,what forecast1 ,mr4,white1 do you make of future developments in photography8 ,is it to remain a black and white art1 or are photographs in natural colors to supersede the familiar photograph of the present day in our exhibitions and in our homes80 8,i think that the fundamental expression of photography is in black and white1 and as we develop what ,i would call the definite photographic quality1 black and white will maintain its present ascendency40 8,but don't you expect the art to develop in different directions from what it is today and what it has been in the past80 8,i think it will develop especially in a more marked sense of picture construction40 99 99 99 ,,how ,,we ,,make ,,our ,,photographs ,methods of ,several ,representative ,workers in ,pictorial ,photography ,are ,given ,below4 ,their ,pictures ,may ,be ,found on the ,pages ,indicated ,,dr4 ,,chaffee ,,tells ,,how ,,he ,,makes ,,bromoils--,,with ,,reservations ,see ,weissthurm ,rothenburg o4 ,tauber1 today a mediaeval town surrounded by its ancient walls and towers1 possesses relics of yet earlier fortifications within the present ones4 ,one of these relics is the so-called ,weissthurm1 still dominating the narrow streets that lead to it and the old houses that have attached themselves to its base4 ,the print is a bromoil transfer upon ,english crayon paper from ,wellington smooth ordinary 7pre-war variety74 ,the negative was made with a ,goerz ,dagor lens in a ,lancaster reflex upon a ,seed ,ortho ,l plate4 ,the further data which all careful workers are supposed to keep were not made and can there fore unfortunately not be furnished4 ,a4 ,d4 ,,chaffee4 ,,evaded ,,the ,,statute1 ,,but ,,made ,a ,,picture ,see ,cables 8,cables0 is the pictorial result of several months' study of the ,brooklyn ,bridge towers4 ,when ,i found the composition ,i wanted1 the rest was easy4 ,except for the police4 ,to a ,bridge policeman anything on a tripod is a movie camera1 and that means3 8,some guy's gonna jump6 ,where's he at80 ,i evaded1 not the law1 but the majesty thereof--and with an #haj view camera4 ,the light was bad4 7,my lens would give an optical savant brain fever2 ,i designed it myself47 ,i used the rising front to the limit1 and stopped down to ,f3#aa to cover the plate4 ,result1 under-exposure1 at one-sixtieth4 ,i developed first in ,rodinal1 #a3abj2 then finished in ,rodinal #a3cj4 ,stanley plates can endure much cruelty4 ,the print for reproduction is made on matte ,azo1 soft1 using strong ,m4-,q4 developer4 ,,arthur ,d4 ,,chapman4 ,a ,,few ,,beliefs ,,of ,a ,,negative ,,tendency ,see ,the ,bugle ,call ,i believe that the data of camera1 plate1 lens1 exposure1 paper1 etc41 have no essential value as aids in pictorial photography4 ,that pictures are made with the camera by feeling alone4 ,the selection of the subject1 the lighting1 the composition1 the exposure and development1 and the after-treatment and selection of the printing medium1 are all a matter of feeling4 ,that the rules of technique once learned are all practically violated in the making of the plate and in the production of a print1 according as the artist feels his subject and as he wishes to reproduce that feeling4 ,in that way only can the individuality be attained which is the keynote of picture-making4 ,,dwight ,a4 ,,davis4 ,,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 #f4c4 ,it was a rainy day and the camera user made his exposure under an umbrella4 ,the film was enlarged to #fh on ,illingworth ,de ,luxe paper1 cream-colored stock1 imported from ,england--took about three months to get it4 ,,mr4 ,,and ,,mrs4 ,j4 ,d4 ,,drew4 ,,how ,a 8,,rembrandt0 ,,was ,,made ,see ,my ,father ,the original negative of my father was made with #eg ,graphic camera and a ,standard ,orthonon plate1 using a ,busch ,omnar ,f #d4e of ten-inch focal length1 at full opening4 ,a hazy day in the country1 the ground covered with snow1 a south window shaded by a veranda and my father seated in front of the window about four or five feet from it1 explain the lighting4 ,no reflector was used4 ,camera was moved to get the desired light4 ,knowing him1 ,i caught him in a favorite chair and in a characteristic position4 ,to subdue the detail of the door and wall behind1 but to suggest the depth and atmosphere of the room and to give all the lines and modeling of the face1 an enlargement was made on an #aaad sheet of ,p4 ,m4 ,c4 ,no4 #h ,bromide paper1 and this was carefully inked1 using the copper sulphate1 salt1 bichromate bleach4 ,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 life4 ,all my portraits are made in ordinary living-rooms or school-rooms4 ,i rarely use any reflector1 merely shifting my camera or my subject1 preferably the former4 ,for younger subjects and especially children ,i prefer a lighter key4 ,sometimes ,i use a soft focus lens for a very moderate degree of diffusion4 ,,vernon ,e4 ,,duroe4 ,,he ,,thought ,,she ,,was ,,crazy ,see ,arches of the ,municipal ,building 8,arches of the ,municipal ,building of ,new ,york0 was taken on a ,standard ,orthonon plate1 about #i3cj ,a4,m41 with a twenty minute exposure4 ,instead of a lens1 the photographer used a piece of black paper pierced with a pin4 ,a wise passer-by who knew a thing or two about photography noticed the absence of the lens4 8,how do you think you are going to take a picture without a lens80 he asked4 8,with a pin-hole10 she replied4 ,he watched her with pitying interest4 8,she thinks she is taking a picture10 he said to another expert1 tapping his head significantly4 ,,antoinette ,b4 ,,hervey4 ,,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 whaler1 8,greyhound10 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 photographer4 ,the time was near noonday in early ,august1 the air clear and the sun bright4 ,a ,graflex camera was used with ,seed ,l ,ortho plates and a three-times screen1 and one-fortieth of a second exposure sufficed at ,f #h4 ,the plate was developed with ,kalogen in tank rather softly and a contact positive made of the negative4 ,this positive was then used to make an #aaad negative by enlargement4 ,p4 ,m4 ,c4 ,no4 #h paper1 buff stock1 was selected1 and in printing a piece of thin1 even-grained paper was placed between the negative and the print paper to gain a certain softness of quality in the finished print4 ,finally when dry the print was waxed and rubbed down several times to give extra life and richness1 particularly in the shadows4 ,the camera carried a nine-inch ,struss lens4 ,g4 ,b4 ,,hollister4 ,,as ,,to ,,certain ,,soft ,,focus ,,lenses ,see ,still ,life ,answering your question1 ,do you like to work with the ,graflex with a ,smith doublet1 visual quality lens8 ,i really believe it would be difficult to find a more satisfactory outfit4 ,it is a companion always ready and willing to do everything that either comes your way or you go after4 ,working at ,f #d4e1 the lens gives you the opportunity of getting the broadest effects in landscapes or the softest in portraits4 ,as a rule these are not pleasing to most people when enlarged4 ,i therefore usually work with the lens at ,f #f or ,f #h1 which gives a delightful image with distinct contours and a definite softness to the outlines1 making beautiful enlargements which are sharp enough for bromoil or gum4 ,and the ,graflex is not so very heavy when a film pack or cut films are used4 ,the image is always right side up and you see it in the full size4 ,no one can question the efficiency of the shutter1 and with practice you can hold the camera for a one-fifth second exposure4 ,the only drawback to the outfit is in seeing things from the waist level1 which makes the foreground difficult4 ,thinking of your picture as a pattern1 however1 it is better to be looking down from an elevation and with a nine-inch lens on a #de box the immediate foreground is negligible4 ,everything considered1 ,i believe there is no more satisfactory outfit than this combination4 8,still ,life0 was the result of a problem of construction in pastel with three colors1 the vase green1 the small box red1 with the white string4 ,it was later photographed as a study of colored objects1 using a ,standard ,orthonon plate with a ,cramer ,isos ,,iii filter and a ,struss lens at ,f #h4 ,the lens was of fifteen-inch focal length on a #fh plate4 ,the exposure was made in an ordinarily lighted room1 but not strong light1 and ,i think about four minutes was given4 ,the print is on ivory black platinum4 ,there was no retouching of any kind1 and ,i think the print shows the value of using a color filter with an orthochromatic plate where colors are contrasted in the subject4 ,b4 ,s4 ,,horne4 ,,mr4 ,,latimer ,,expresses ,,his ,,views ,,somewhat ,,at ,,length ,see ,in an ,italian ,village ,in the olden days ,i used to lug around big cameras4 ,i even went so far as to have #adag hand camera1 made to take to sea with me to make large direct marines4 ,in the days of the old ,boston ,camera ,club it was called 8the dog-house40 ,but ,i soon found out that it was 8too much pork for a shilling40 ,now ,i use small cameras and enlarge4 ,my small cameras are mostly of the stereo-panoram variety1 and a pocket ,ansco1 all fitted with fast lenses and with direct vision finders1 which ,i consider much more practicable than the old style finders4 ,for instance1 ,i was on a steamer a few months ago1 waiting to leave the dock1 and a lot of gulls were flying around4 ,i said to myself1 8,here's a good opportunity to test my shutter and finder1 and see if ,i can stop them10 so ,i used up one roll of film on them4 ,i made direct hits and stops on every one4 ,my picture 8,in an ,italian ,village0 was made with my ,voigtlander #deajg mm4 stereo camera4 ,i was on an auto trip in ,italy2 had nearly used up my three months allowed by the ,italian ,government1 and had three days to get out or lose my deposit for duty on my car4 ,i was on my way to the ,french frontier1 and ran through this ,italian village--,todi ,i think the name was4 ,when ,i saw this picturesque old wall with some of the villagers1 ,i said1 8,i've got to get this whether ,i lose my deposit or not40 ,so ,i stopped the car1 got out my stereo1 stood up in the car1 leaned on the windshield1 and shot before they woke up to what ,i was doing4 ,then what happened8 ,the whole village seemed to want to get into the plate1 and ,i had a mob instead of a picture4 ,i made several more shots1 but the first one was the best4 ,in nine cases out of ten in like conditions ,i find the first shot the best4 ,shoot quick and don't give 'em time to pose4 ,i suppose if ,i had trained movie models1 though1 it might be different4 ,i've tried studio work1 but ,i prefer the small camera and the quick snapshot4 ,luck counts1 ,i admit1 but when it is good1 the snapshot seems to me more spontaneous than anything ,i can do in the studio4 ,my usual method of enlarging from small camera shots is this4 ,i enlarge a transparency 7positive7 up to #fh or #haj4 8,in an ,italian ,village0 was an #haj positive1 sharp lens4 ,then1 either with a soft focus or a sharp focus lens1 ,i enlarge to whatever size ,i want and whatever effect ,i'm after4 ,the advantage of enlarging the positive is that you can do any faking you want to better advantage1 and when your enlarged negative is done you can print in any medium you wish1 so ,i always make enlarged negatives4 ,i don't think ,i've made a bromide enlargement in twenty years4 8,in an ,italian ,village0 was enlarged from a part of a #deajg mm4 stereo1 a little larger than my thumb-nail4 ,the enlarged negative is #aaad4 ,it was printed in multiple gum1 four printings1 pigment #ej-ej lampblack and indigo4 ,h4 ,a4 ,,latimer4 ,,night ,,pictures ,,in ,,the ,,streets ,see ,crow's ,nest ,restaurant1 also ,the ,arch of ,jewels1 ,new ,york ,city--,mr4 ,alcock's picture was made under similar conditions4 ,picturing ,new ,york with a camera after dark is perhaps one of the most interesting phases of pictorial photography4 ,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 plate4 ,a little patience1 endurance1 and a great deal of enthusiasm will do wonders4 ,it is not the easiest thing in the world to start out with an #haj view camera1 a good substantial tripod1 and several plate-holders4 ,a strong tripod is absolutely necessary on account of winds1 jars1 vibrations1 etc4 ,to avoid halation use portrait film1 take the view where there are no glaring lights1 and develop with ,azol4 ,judge your time according to the amount of light 7two to ten minutes74 ,capping the lens each time a lighted moving vehicle comes along helps the picture4 ,for night pictures probably the best medium is gum palladium1 because it lends itself to the mellow evening lights4 ,,sophie ,l4 ,,lauffer4 ,,how ,,to 8,,work ,,up0 ,a ,,negative ,see ,along the ,canal 8,along the ,canal0 was taken about mid-day in ,july in bright sunlight1 ,graflex #de1 ,cooke lens working at one-twentieth of a second1 ,f #aa1 on ,seed #bfx plate1 ,pyro 7,kodak powders7 developer4 ,in working up1 first make ,solio print and enlarge by photographing up to #fh4 ,on this negative sky and some trees were painted out1 using glass side to work on4 ,from this negative print was made on ,american platinum paper1 first the foreground1 then the sky printed from negative which will suit subject4 ,retouching can be done on this print with carbon pencil4 ,you then have a print which can be enlarged to any size1 using ,smith lens4 ,this print is on ,spanish hand-made paper1 hand-coated with platinum4 ,w4 ,e4 ,,macnaughton4 ,,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 #bc4 ,it had been given me as a present by my partner in photographic and other joys1 who was tired of seeing me lug around an #haj view camera and plates4 ,i thought the light looked interesting in the big station and opened my little box4 ,appeared on the scene the station detective4 8,not allowed to make photographs without a permit40 8,where do ,i apply for it80 8,at the stationmaster's room40 ,i walked half a mile and interviewed a pretty stenographer4 ,she said1 when ,i showed her the tiny camera1 8,certainly you can make snapshots with that little thing4 ,what we don't like is putting up a big camera on a tripod40 ,i went back in triumph1 showed my permit1 and shot4 ,f#d4h ,zeiss lens1 wide open1 one second exposure4 ,enlarged on ,p4 ,m4 ,c4 ,no4 #e1 to #aaad with ,smith lens4 ,,henry ,,hoyt ,,moore4 ,,from ,a 8,,bathroom0 ,,expert ,see ,the ,hour of ,twilight ,i never at any time have had a regular dark room1 practically always changing my plates and reloading holders at night in total darkness4 ,when developing plates or enlargements1 ,i take possession of the bathroom1 place a wide board across the tub on which are placed the necessary trays1 see that the room is absolutely dark1 and go ahead4 ,i usually tank my plates and films and use ,azol for developing1 sometimes ,pyro4 ,most of my exposures are made with an ,adams ,minex ,reflex camera1 quarter plate size4 ,this camera cost about three hundred dollars before the war1 and ,i have found it well worth the expenditure4 ,it has a ,ross ,zeiss ,tessar lens1 which ,i seldom use1 being quite content with the work of my ,smith single ,f #d4e lens1 which ,i carry in the camera all the time with a three-times light filter attached4 ,my only other camera1 which ,i use a great deal1 is a ,newman ,guardia 8,baby ,sybil0 with ,carl ,zeiss ,tessar ,f #d4e lens1 taking a picture #d4e x #f cm4 ,this does wonderful work1 the negatives easily enlarging to #aaad and over4 ,i use the ,standard ,orthonon plate and ,premo speed film pack1 always giving a full exposure4 ,my favorite printing processes are multiple gum and bromoil1 three or four printings in the former1 nearly always from enlarged paper negatives up to #aaad from either camera4 8,the ,hour of ,twilight0 is a triple printing in gum1 and was made with the ,adams ,minex on a ,standard ,orthonon plate1 using a ,smith single lens4 ,,william ,,gordon ,,shields4 ,,mr4 ,,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 day4 ,i took the opportunity to look around and get an impression of the place4 ,i noted the big rooms and the characteristics of the lighting and the faces of the children4 ,i found that they kept their toys in a big sort of a highboy4 ,so the next time ,i went out ,i photographed them there4 ,the lens8 ,oh1 yes2 a ,taylor-,hobson single4 ,exposure8 ,always with a cap1 indoors4 ,paper8 ,always platinum or palladium--sometimes with a gum coating to help out4 ,,clarence ,h4 ,,white4 ,,dragging ,a ,,view ,,camera ,,through ,,the ,,sands ,see ,sand ,dunes ,for want of a smaller one1 ,i had the courage to drag a #fh ,eastman view camera through the sand one late afternoon in ,september1 to make my picture of the 8,sand ,dune40 ,i used a ,struss lens stopped to ,f #aa1 a ,standard ,orthonon plate1 an ,iso three-times ray filter1 and gave it as short an exposure as ,i could with a cap4 ,i use a cap because ,i tell myself it is less mechanical and because ,i do not happen to possess a shutter4 ,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 sand1 the waving dune grass1 and the sea beyond4 ,,mildred ,,ruth ,,wilson4 ,,the ,,hampton ,,singer1 ,by ,dorothy ,abbott1 ,new ,york ,city ,,the ,,hampton ,,singer ,by ,,dorothy ,,abbott1 ,new ,york ,city ,,the ,,arch ,,of ,,jewels1 ,,new ,,york ,,city1 ,by ,william ,a4 ,alcock1 ,new ,york ,city ,,the ,,arch ,,of ,,jewels1 ,,new ,,york ,,city ,by ,,william ,a4 ,,alcock1 ,new ,york ,city ,,willow ,,valley1 ,by ,charles ,k4 ,archer1 ,pittsburgh1 ,pa4 ,,willow ,,valley ,by ,,charles ,k4 ,,archer1 ,pittsburgh1 ,pa4 ,,prayers ,,of ,,buddha1 ,by ,f4 ,bauer1 ,san ,francisco1 ,cal4 ,,prayers ,,of ,,buddha ,by ,f4 ,,bauer1 ,san ,francisco1 ,cal4 ,,the ,,swans1 ,by ,jesse ,tarbox ,beals1 ,new ,york ,city ,,the ,,swans ,by ,,jesse ,,tarbox ,,beals1 ,new ,york ,city ,,above ,,the ,,clouds1 ,by ,clark ,blickensderfer1 ,denver1 ,colo4 ,,above ,,the ,,clouds ,by ,,clark ,,blickensderfer1 ,denver1 ,colo4 ,,gramercy ,,park1 ,by ,mary ,f4 ,boyd1 ,chambersburg1 ,pa4 ,,gramercy ,,park ,by ,,mary ,f4 ,,boyd1 ,chambersburg1 ,pa4 ,,hill ,,top--,,winter1 ,by ,george ,butler1 ,worcester1 ,mass4 ,,hill ,,top--,,winter ,by ,,george ,,butler1 ,worcester1 ,mass4 ,,weissthurm--,,rotenburg ,o4 ,,tauber1 ,by ,a4 ,d4 ,chaffee1 ,new ,york ,city ,,weissthurm--,,rotenburg ,o4 ,,tauber ,by ,a4 ,d4 ,,chaffee1 ,new ,york ,city ,,cables1 ,by ,arthur ,d4 ,chapman1 ,west ,hoboken1 ,n4,j4 ,,cables ,by ,,arthur ,d4 ,,chapman1 ,west ,hoboken1 ,n4,j4 ,,bookplate1 ,by ,alfred ,cohn1 ,brooklyn1 ,n4,y4 ,,bookplate ,by ,,alfred ,,cohn1 ,brooklyn1 ,n4,y4 ,,the ,,bugle ,,call1 ,by ,dwight ,a4 ,davis1 ,worcester1 ,mass4 ,,the ,,bugle ,,call ,by ,,dwight ,a4 ,,davis1 ,worcester1 ,mass4 ,,the ,,bridge1 ,by ,john ,paul ,edwards1 ,sacramento1 ,california ,,the ,,bridge ,by ,,john ,,paul ,,edwards1 ,sacramento1 ,california ,,my ,,father1 ,by ,vernon ,e4 ,duroe1 ,brooklyn1 ,n4,y4 ,,my ,,father ,by ,,vernon ,e4 ,,duroe1 ,brooklyn1 ,n4,y4 ,,maids ,o' ,,the ,,mist1 ,by ,mr4 and ,mrs4 ,j4 ,d4 ,drew1 ,montclair1 ,n4,j4 ,,maids ,o' ,,the ,,mist ,by ,,mr4 ,,and ,,mrs4 ,j4 ,d4 ,,drew1 ,montclair1 ,n4,j4 ,,afternoon ,,tea1 ,by ,eleanor ,c4 ,erving1 ,albany1 ,n4,y4 ,,afternoon ,,tea ,by ,,eleanor ,c4 ,,erving1 ,albany1 ,n4,y4 ,,summer ,,portrait1 ,by ,laura ,gilpin1 ,colorado ,springs1 ,colo4 ,,summer ,,portrait ,by ,,laura ,,gilpin1 ,colorado ,springs1 ,colo4 ,,sunlight--,,taos1 ,by ,forman ,hanna1 ,globe1 ,arizona ,,sunlight--,,taos ,by ,,forman ,,hanna1 ,globe1 ,arizona ,,dick',s ,,stall1 ,by ,g4 ,w4 ,harting1 ,new ,york ,city ,,dick',s ,,stall ,by ,g4 ,w4 ,,harting1 ,new ,york ,city ,,beth-,,el1 ,by ,edward ,heim1 ,new ,york ,city ,,beth-,,el ,by ,,edward ,,heim1 ,new ,york ,city ,,the ,,toilers1 ,by ,eugene ,p4 ,henry1 ,brooklyn1 ,n4,y4 ,,the ,,toilers ,by ,,eugene ,p4 ,,henry1 ,brooklyn1 ,n4,y4 ,,arches ,,of ,,the ,,municipal ,,building1 ,by ,atoinette ,b4 ,hervey1 ,new ,york ,city ,,arches ,,of ,,the ,,municipal ,,building ,by ,,atoinette ,b4 ,,hervey1 ,new ,york ,city ,,morning--,,plymouth1 ,by ,lillian ,m4 ,hobart1 ,northborough1 ,mass4 ,,morning--,,plymouth ,by ,,lillian ,m4 ,,hobart1 ,northborough1 ,mass4 ,,last ,,of ,,the ,,square ,,riggers1 ,by ,g4 ,buell and ,hebe ,hollister1 ,corning1 ,n4,y4 ,,last ,,of ,,the ,,square ,,riggers ,by ,g4 ,,buell ,,and ,,hebe ,,hollister1 ,corning1 ,n4,y4 ,,war ,,veterans1 ,by ,millie ,hoops1 ,new ,york ,city ,,war ,,veterans ,by ,,millie ,,hoops1 ,new ,york ,city ,,still ,,life1 ,by ,d4 ,s4 ,horne1 ,princeton1 ,n4,j4 ,,still ,,life ,by ,d4 ,s4 ,,horne1 ,princeton1 ,n4,j4 ,,the ,,sunshine ,,of ,,johnnie',s ,,smile1 ,by ,roberta ,hostetler1 ,davenport1 ,iowa ,,the ,,sunshine ,,of ,,johnnie',s ,,smile ,by ,,roberta ,,hostetler1 ,davenport1 ,iowa ,,sun ,,drying1 ,by ,h4 ,a4 ,hussey1 ,berkeley1 ,cal4 ,,sun ,,drying ,by ,h4 ,a4 ,,hussey1 ,berkeley1 ,cal4 ,,portrait1 ,by ,doris ,u4 ,jaeger1 ,new ,york ,city ,,portrait ,by ,,doris ,u4 ,,jaeger1 ,new ,york ,city ,,the ,,pipes ,,of ,,pan1 ,by ,myers ,r4 ,jones1 ,brooklyn1 ,n4,y4 ,,the ,,pipes ,,of ,,pan ,by ,,myers ,r4 ,,jones1 ,brooklyn1 ,n4,y4 ,,in ,,an ,,italian ,,village1 ,by ,h4 ,a4 ,latimer1 ,boston1 ,mass4 ,,in ,,an ,,italian ,,village ,by ,h4 ,a4 ,,latimer1 ,boston1 ,mass4 ,,crow',s ,,nest ,,restaurant1 ,by ,sophie ,l4 ,lauffer1 ,brooklyn1 ,n4,y4 ,,crow',s ,,nest ,,restaurant ,by ,,sophie ,l4 ,,lauffer1 ,brooklyn1 ,n4,y4 ,,the ,,quarry1 ,by ,,george ,p4 ,,lester1 ,bloomfield1 ,n4 ,j4 ,,the ,,quarry ,by ,,george ,p4 ,,lester1 ,bloomfield1 ,n4 ,j4 ,,detail ,,of ,,california ,,building1 ,by ,florence ,burton ,livingston1 ,mohegan ,lake1 ,n4,y4 ,,detail ,,of ,,california ,,building ,by ,,florence ,,burton ,,livingston1 ,mohegan ,lake1 ,n4,y4 ,,sunbeams1 ,by ,ben ,j4 ,lubschez1 ,new ,york ,city ,,sunbeams ,by ,,ben ,j4 ,,lubschez1 ,new ,york ,city ,,along ,,the ,,canal1 ,by ,william ,elbert ,macnaughton1 ,brooklyn1 ,n4,y4 ,,along ,,the ,,canal ,by ,,william ,,elbert ,,macnaughton1 ,brooklyn1 ,n4,y4 ,,spring1 ,by ,holmes ,i4 ,mettee1 ,arlington1 ,md4 ,,spring ,by ,,holmes ,i4 ,,mettee1 ,arlington1 ,md4 ,,sympathy1 ,by ,hervey ,w4 ,minns1 ,kenmore1 ,ohio ,,sympathy ,by ,,hervey ,w4 ,,minns1 ,kenmore1 ,ohio ,,the ,,meadow1 ,by ,robert ,b4 ,montgomery1 ,brooklyn1 ,n4,y4 ,,the ,,meadow ,by ,,robert ,b4 ,,montgomery1 ,brooklyn1 ,n4,y4 ,,the ,,railway ,,station1 ,by ,henry ,hoyt ,moore1 ,brooklyn1 ,n4,y4 ,,the ,,railway ,,station ,by ,,henry ,,hoyt ,,moore1 ,brooklyn1 ,n4,y4 ,cultivating1 ,by ,l4 ,pokras1 ,brooklyn1 ,n4 ,y4 ,,cultivating ,by ,l4 ,,pokras1 ,brooklyn1 ,n4 ,y4 ,,portrait--,,miss ,f41 ,by ,arthur ,racicot1 ,quantico1 ,va4 ,,portrait--,,miss ,f4 ,by ,,arthur ,,racicot1 ,quantico1 ,va4 ,,to ,,the ,,unknown ,,shore1 ,by ,lawrence ,c4 ,randall1 ,columbus1 ,ohio ,,to ,,the ,,unknown ,,shore ,by ,,lawrence ,c4 ,,randall1 ,columbus1 ,ohio ,,the ,,east ,,river1 ,by ,d4 ,j4 ,ruzicka1 ,new ,york ,city ,,the ,,east ,,river ,by ,d4 ,j4 ,,ruzicka1 ,new ,york ,city ,,closing ,,of ,,an ,,autumn ,,day1 ,by ,j4 ,g4 ,sarvent1 ,kansas ,city1 ,mo4 ,,closing ,,of ,,an ,,autumn ,,day ,by ,j4 ,g4 ,,sarvent1 ,kansas ,city1 ,mo4 ,,the ,,vanishing ,,road1 ,by ,otto ,c4 ,shulte1 ,san ,francisco1 ,cal4 ,,the ,,vanishing ,,road ,by ,,otto ,c4 ,,shulte1 ,san ,francisco1 ,cal4 ,,the ,,hour ,,of ,,twilight1 ,by ,william ,gordon ,shields1 ,new ,york ,city ,,the ,,hour ,,of ,,twilight ,by ,,william ,,gordon ,,shields1 ,new ,york ,city ,a ,,song1 ,by ,guy ,spencer1 ,new ,york ,city ,a ,,song ,by ,,guy ,,spencer1 ,new ,york ,city ,,open-,,air ,,pulpit1 ,,grace ,,church1 ,by ,elizabeth ,g4 ,stoltz1 ,marion1 ,ohio ,,open-,,air ,,pulpit1 ,,grace ,,church ,by ,,elizabeth ,g4 ,,stoltz1 ,marion1 ,ohio ,l',,entre',,acte1 ,by ,mankichi ,sugimoto1 ,new ,york ,city ,l',,entre',,acte ,by ,,mankichi ,,sugimoto1 ,new ,york ,city ,,farmyard1 ,by ,george ,p4 ,swain1 ,east ,orange1 ,n4,j4 ,,farmyard ,by ,,george ,p4 ,,swain1 ,east ,orange1 ,n4,j4 ,,carlotta1 ,by ,lacy ,van ,wagenen1 ,orange1 ,n4,j4 ,,carlotta ,by ,,lacy ,,van ,,wagenen1 ,orange1 ,n4,j4 ,,mrs4 ,,pickford1 ,by ,mabel ,watson1 ,pasadena1 ,california ,,mrs4 ,,pickford ,by ,,mabel ,,watson1 ,pasadena1 ,california ,,the ,,little ,,art ,,shop--,,woodstock1 ,by ,anthony ,j4 ,weis1 ,new ,york ,city ,,the ,,little ,,art ,,shop--,,woodstock ,by ,,anthony ,j4 ,,weis1 ,new ,york ,city ,,the ,,dance1 ,by ,delight ,weston1 ,blue ,hill1 ,maine ,,the ,,dance ,by ,,delight ,,weston1 ,blue ,hill1 ,maine ,,sisters1 ,by ,clarence ,h4 ,white1 ,new ,york ,city ,,sisters ,by ,,clarence ,h4 ,,white1 ,new ,york ,city ,,sand ,,dune1 ,by ,mildred ,ruth ,wilson1 ,flushing1 ,long ,island ,,sand ,,dune ,by ,,mildred ,,ruth ,,wilson1 ,flushing1 ,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 ,photography2 to enlist the aid of museums and public libraries in adding photographic prints to their departments2 to stimulate public taste through exhibitions1 lectures1 and publications2 to invite exhibits of foreign work2 and generally to promote education in this ,art so as to raise the standards of ,photography in the ,united ,states of ,america4 ,meetings of the ,association are held in ,new ,york ,city on the first ,monday of each month4 ,during the winter of #aiai-aibj the following lecturers addressed the ,association at these meetings3 ,mr4 ,robert ,j4 ,cole1 ,art ,reviewer1 ,new ,york ,evening ,sun1 on 8,man and the ,camera20 ,mr4 ,h4 ,j4 ,potter1 of the ,eastman ,kodak ,company1 on 8,both ,ways from ,f-#h20 ,mr4 ,albert ,sterner1 on 8,before the ,click of the ,shutter20 ,mr4 ,pirie ,mac,donald and ,mr4 ,e4 ,b4 ,core1 on 8,the ,pictorial ,side of ,professional ,photography20 and ,mr4 ,walter ,g4 ,wolfe1 on 8,the ,use of the ,soft ,focus ,lens40 ,mr4 ,allen ,eaton1 ,field ,secretary of the ,american ,federation of ,arts2 ,mr4 ,william ,m4 ,ivins1 ,curator of ,prints1 ,metropolitan ,museum of ,art2 ,dr4 ,frank ,weitenkampf1 of the ,new ,york ,public ,library2 ,prof4 ,charles ,h4 ,farnsworth1 of ,columbia ,university1 and ,walter ,l4 ,hervey1 ,ph4,d41 also made addresses4 ,another feature of the meetings which added to their interest and usefulness was a monthly print competition4 ,prints were submitted by members from all parts of the ,united ,states1 judged by a committee in advance of the meeting1 and a selection of ten prints presented to the members for their consideration4 ,from these they chose each month the two best prints4 ,the ,pictorial ,photographers of ,america this year for the first time arranged an exhibition of prints in ,europe4 ,acting on the invitation of the ,copenhagen ,photographic ,amateur ,club to cooperate in celebrating its ,twenty-fifth ,anniversary1 about #cej prints from leading pictorialists all over this country were assembled and forwarded in ,july to ,copenhagen4 ,at home1 in cooperation with the ,american ,federation of ,arts1 the ,pictorial ,photographers of ,america exhibited at the following museums the hundred prints which are reproduced in 8,pictorial ,photography in ,america for #aibj40 ,the ,john ,herron ,art ,institute of ,indianapolis1 ,the ,jackson ,art ,association of ,michigan1 ,the ,boston ,society of ,arts and ,crafts1 ,the ,mechanics ,institute of ,rochester1 ,the ,arnot ,art ,gallery of ,elmira2 and during ,may1 at the ,university of ,virginia4 ,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 ,city4 ,the plans for this have been successfully worked out1 funds are already in hand for its accomplishment and buildings purchased for occupancy4 ,this will provide a home for our ,association1 a splendid gallery for exhibitions1 and thus make certain of immediate accomplishment plans for our future which have seemed impracticable up to the present time4 ,in publishing 8,pictorial ,photography in ,america for #aiba0 the ,association has invited the cooperation of pictorialists whether or not members of the organization4 ,we hope that it will interest in our work men and women1 whether photographers or not1 who are interested in the development of the ,art of ,photography4 ,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 interested4 ,,jerry ,d4 ,,drew1 ,secretary4 ,national ,arts ,club1 #aai ,east #aith ,street1 ,new ,york ,city4 ,advertisement3 ,pinkham and ,smith ,company ,advertisement3 ,eastman ,kodak ,company ,advertisement3 ,ansco ,company ,advertisement3 ,ica-,contessa ,advertisements3 ,kalogen2 ,willis and ,clements ,advertisements3 ,japan ,paper ,company2 ,george ,murphy1 ,inc4 ,advertisements3 ,fred'k ,w4 ,keasbey1 ,abe ,cohen's ,exchange ,advertisements3 ,wollensack ,optical ,company2 ,willoughby's