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org/details/1920photogramsof00londuoft .archive.PHOTGGRAM5 itfjiilil^siiliiV^iifsfliiifsjiiisivAiiMaiLus^ http://www.

/ ^.>^r....:y^'-^. .a-^ PEACE AFTER WAR—AND By MEMORIES. HAROLD CAZNEAUX (Sydney!.

NEW ZEALAND— Aucklakd Kodak (Auttralatia) Ltd. TtnnaKt » Ward. Ltd. MORTIMER. 20. Ltd.: Harringtons Ltd. Fukuoka.f_/IO«'"-< PHOTOGRAMS OF THE YEAR 1920 THE ANNUAL REVIEW OF THE WORLD'S PICTORIAL PHOTOGRAPHIC WORK Edited by \0l F. OkACA ToaoiiAMA. Dcm Haao. E. Ktqto. SOUTH AfRlOi—Ctntral Stwtagmey Lennon Ltd. B«issa«« Harrington't Ltd.: Oordon # Ootch. Tudor Street.S.R. Okura. : Kodak (Auttralatia) Ltd. Kodak (Auttralatia) Ltd. Croiiikgin and Nuuroih : /vom # Co. Tratamcors: Thacktr»(k>. BouiAr.- : . : Y.: Kobinton * a>. F. Asilaioi: Kodak (Auttralaaui) Oordtm # Ooleh. Ltd. JAPAN— Torto: Uaruttn Co. London: ILIFFE & SONS.: Harrintton't Ltd. Sydhit Ltd. SINCKPORB. Ltd. INDIA— Calcutta. J.4. Oordon * Ootcli. CANADA—To«oirro: Th* Huttou Book : . Homo Koko: K^ly S Walth.C. Art-Bdimr 0/ "Tit Amaitur PkoKgrtfiitr tnd Pkciop-tflij." Ediitr »/ "Tkt Dutiiury tf Pktngrtfhy" i Amdttr »f "Mtriiu Pkongrapfy^ "Mdgmaiitm Ligif Piaagrafkf.P. ««. CHINA-Sharokai.: HarriMtUm'm Ltd.: Utlvilt* 3luU*n Proprietary.: Hamngton't Ltd. Komm: MaruMtn Co.: Kodak ( Auttralatia) Ltd. Madras. Kelly S Waltlt. UNITED STATES— N«w ovaurr Yoiik: Limited. Ltd. HOLLAND— Amstxrdau. : : : . : Co. Lid. AUSTRALASIA— M«LKodak (AutlralaMial Lid." "PluHgrtfiy ftr tkt Prm" ««. : Oordon S Ootch.: Oordon # Ooieh.: Oordon S Ootcli. Wellimcton Harringion't Ltd.

1921. Address : The Editor. but whose work it has not been possible to include. John Street. throughout the past year. Under the circumstances." address as above.4. our thanks are just as sincere for their proffered assistance and evidences of goodwill as to those whose pictures have been selected for reproduction. the collection will he available for exhibition at PhotoApplication should he made to the Editor. the removal of those restrictions. will be found on pages 2-4-6-8-10-12. The task has not been an easy one. during the war. that date. handicapped by the enhanced cost of production. " Photograms of the Year. "Photograms of the Year. Indices to pictures and authors. . ^^ exhibition of the original pictures from which the reproducvolume were made will be held at the London Camera Club. etc.. the chief difficulty in the preparation of this Annual. and amateur work was restricted. has been. Pictures intended for Photograms of the Year 1921" should he submitted not later than August 21st. at end of the book. and the production of pictorial photographs has never been greater than at the present time. to bring the number of contributions representative of modern pictorial photography within the limits of the space available.C. London. 17. Whilst. E. Adelphi.IN ventured volume of Photograms of the Year the prediction was that the year then to come would be a record one for photography generally that a boom in camera work was starting after the restrictions of the war period. 1921. This prethe last — diction appears to have been well fulfilled. and to the authors of the many hundreds of pictures that have been sent for the purpose." 20. After tions in this An graphic Societies and other centres. during February. Tudor Street. the professional portrait photographer scored to a great extent by the very nature of his output. has been productive of a notable revival of enthusiasm The boom has continued unabated in the art in all directions.C. and the return to civil life of so many thousands of amateur photographers who had been in the army. W. of necessity.

do not wish. "the man in the street. assisted on occasion by its more brother— the cinematograph— has done much to quicken the appreciation of that elusive individual. the London No volumes — Salon of Photography. greater number of photographers actively and enthusiastically interested in the production of pictures with the camera. to a greater extent than would have seemed possible. there are a few outstanding pictures pictures that will be remembered for their very isolation. To go back no further than 1900. particularly among amateurs. but others have come along and are doing equally well— or better the standard for the rank and file has been raised. : We better confirmation of this is needed than an inspection of the earlier of this Annual.THE YEAR'S WORK By THE EDITOft. however. the pioneer work of leaders of Their work will live and might possibly continue to hold its own. to belittle in any way." to pictorial possibilities of photography. The tendency of modern pictorial production with the camera has been towards a levelling up to an extent that the highwater mark of a few years ago is in danger of being submerged. we find that. but they are apt to overlook the point that a great number of apparently ordinary pictures to-day— ordinary only because they are familiar -would have been epoch making and long to be remembered if shewn twenty years ago. we are conscious of the fact that a much higher standard of picture-making is expected nowadays than would have been the case ten or twenty years ago. and we also see a great revival in the number lively The camera . and the practice of photography generally has increased during the past year. the past. generally. N considering the trend of the year's work in pictorial photography and British pictorial work in particular. To the unthinking or unobservant this levelling up may present modern work as below the standard of that of past years. although in the pick of the year's work as reproduced in " Photograms of the Year " of that period. say. in view of the very largely increased price of practically everything connected with the Probably at no time during the period mentioned above has there been a art. the bulk of the best work then produced would not bear comparison with the best of that produced to-day and exhibited at. as the great educator of ihe eye.

and have demonstrated by their productions and literature that photography can be regarded as an " all-the-ycar-round " occupation for those who are inclined towards picture-making. when a collection of particularly attractive pictorial portraiture was brought together. was not confined to the productions of the British workers. and the standard of work showed itself at a very high level. . The fact that certain photographs suggest at times the productions of workers in other graphic arts is entirely beside the question. This tendency found its expression in the Exhibition held at the Horticultural Hall earlier in the year. how. no " close time " for photography . from a perusal of the literary contributions from different countries which appear elsewhere in this book. as. moreover. This large entry of pictorial photographs. the number of entries constituted a record for any period of its existence. This. to. may judge from this. in this connection. in one direction the writer has taken an entirely optimistic view of the future of photography in his own country. whilst in others the point of view has been pessimistic. more than doubled those of any previous year. in fact. . apart from the two big exhibitions referred there have been others of outstanding importance which have shown the trend of camera work towards a realisation of picture-making with the camera. So far as this country is concerned. both for this Annual and for the exhibitions. and it is on this basis that " Photograms of the Year " presents its annual collection of representative work to the photographic public as indicating what is being done with the camera as a means to an end. — — We It is interesting to note. The two principal exhibitions held in London in the autumn— the London Salon of Photography and the Exhibition of the Royal Photographic Sociely^ attracted far larger entries than has been the case for many years in fact. we are inclined to think is temperamental only. There is. with every evidence that it is likely to continue in this country. for instance. at the Congress of Professional Photographers. and the leading professionals of to-day are striving hard to educate their public to an appreciation of the type of work that hitherto has been more particularly regarded as the province of the advanced amateur. The whole crux of the matter lies in the final result. and the illustrations in " Photograms of the Year" demonstrate how each season of the year provides adequate material for picture -making. We have again been confronted with the ever recurrent argument of photography as an art. we must judge of the facts on the evidence before us in the form of the pictures that have been forthcoming from all parts of the world. and we are inclined to think that this argument will continue as long as photography is used for picture-making.of photographic competitions and exhibitions that have sprung up on all sides unmistakable signs of a healthy desire to further the spread of photography generally. Even in the case of professional photographers. in the case of the Salon. Those from America and the Colonies. The photographic manufacturers and trade generally of Great Britain have also done their best in furthering the popularity of photography. to a large extent. and also from other facts that have been brought to our notice. that the wave of renewed enthusiasm in photography is far-reaching. this also has become very manifest. in this case.

From the pages devoted to society matters in " The Amateur Photographer and Photography. At the London Camera Club good work has continued to be done for pictorial photography in the unbroken series of monthly house exhibitions by prominent workers. Arrangements are being made for the collections to travel in the Colonies and foreign countries. This exhibition. in pre-war days. and pictorial photographers in London owe the Arts Committee of the Club a debt of gratitude for their energies in this direction. quite apart from the production of pictorial work. Scottish photographers have signalised their renewed interest by a very successful Salon held in the winter of 1930. and preparations are again in hand for another in igai. from pictures entered in the competition.The circulation. to the mutual benefit of both parties. and the tendency has arisen for these societies to ask for exchanges of collections of pictorial work. the collections for 1918 and 1919 are still circulating. and at the time of going to press with this Annual. showed a distinct advance on that of the previous five or six years. will give a very good idea of the progress that has been made by Colonial photographers. as the revival of interest already referred to has permeated foreign societies as well as those in this country." has afforded an opportunity to a great number of societies in different parts of the country to see a very complete little exhibition of the pick of the year's work. The Directory of British Photographic Societies that was included in " Photograms of the Year" last year. The Colonial Competition organised by " The Amateur Photographer and Photography " brought a very gratifying response from pictorial workers overseas. These exhibitions have proved so popular that. so as to still further bring overseas photographers in touch with what is being done with the camera. which. is nevertheless a sign of the times. very extensive preparations are being made for a revival of the Northern Exhibition at Liverpool. and much good work for the progress of photography generally is being accomplished. and very welcome. held in the autumn. . We have already referred to the success of the Salon of igao. As mentioned in the preceding volumes of " Photograms of the Year. that it is again presented this year brought completely up to date. of the original pictures reproduced in " Photograms of the Year. was generally regarded as the leading exhibition of the provinces. and are in unabated demand. We were very glad to see this sign of vitality on the part of the premier photographic society. at the time the collection of *' Photograms of the Year " for 1920 starts on tour. and the exhibition which will be held at the house of the Royal Photographic Society in the spring of 1921. and in directing the attention of unattached photographers to societies and clubs in their neighbourhood. proved so generally acceptable and useful for reference. although somewhat belated. This is particularly desirable." it can be gathered that this interest and enthusiasm among the thousands of photographers who form the membership of British societies is very real. Photographic Society life generally has been very active during the past year. and are glad to record also that the Exhibition of the Royal Photographic Society." these exhibitions were continued without a break throughout the war. too.

fee. 6 p. Avr Barnard and Diitrict Mason's Photographic Society and Hall.. Aberdeen John Threlfall. W. 29. Blackburn Liberal Club. Mawdsley Street Arthur S. M. Irregular Thomas Alton Photographic Society Burlington Hall. Blairgowrie month Blaydon and Club Diitrict Camera Not fixed and 3rd Thursdays W. Birkenhead sociatien Ai- Y. Vine House. Sparkhill.C. Bolton Thursdays and Sats. Hopkins.. The Groves. Old Windsor Bedford month 4/- Camera Club Assembly Buildings. Bath S.. Hon.M.3 A'. 4/Youths. 3 Room. 4/Ladies.. 5/- J. 119. Oa. McBaiu. : Down W.. Beaumont Photographic Society Bedford Camera Club Belfast C. Churchfield Road Wednesday 2nd and 4th 10/Ladics. Irregxilar Annual Subscription.M. E. Country mem- bers. . Suffolk Street Monday Friday Photographic 99. 82. Thursday Irregular 6/Ladies and Juniors.A. SOCIETIES. Aberdeen Aberdeen Friday John Rae. 7. Victoria Street. High Bondgate. Castlehill Road. Blackpool Croft Lane.toa Entrance 2/6 fee. Bagnall. & H. S. The Literary and Alternate Miss M. Cooper.. People's Hall. J. H. Tjmewydd Road.A. Castle 3. Ladies. High Street Thursday Irregular Ayr Amateur Society Cattle Photographic New Bridge Street Reginald J. 17. Philip.CA 1 Friday 7/6 5/7/6 0/0 7/6 Gwyn Morgan Barry Brig-y-Don. Kershaw. and Federations {See Separate List.- Blackborn and District Camera Club Blackpool^ and^ Fylde Photographic Society Blairgowrie and District Photographic Association Church Street. Rock Hall. Street. Wilson 3. Winlaton-on-Tyne Downing Road. 5/Associates.m. Blairgowrie . Aston. Ombersley Road. Prospect Road. Weston. Marchmont. Belfast C. Rankin. Ivor Road. Bir- V.. Murdock Road. 5/2/6 Entrance . Youths. Grange Road . 1 1 . Queen's 8. S. 44. Oriel Road month Wednesday Alternate 7/6 7/6 Ladies. Address of Secretary. Secretar>') W.M. Bedford (Hon. Birmingham Photographic Birstall Photographic Society . Denton Road. London. THE BRITISH PHOTOGRAPHIC Name of Society. Cuthbert's Sundays.7/6 51. Audenshaw F. Gatti. Brown. Wilson Street. 7/6 . Co. Peters. Road.A. Bangor. 5. MacLennan. near Leeds Biihop ^ Auckland Photographic Silver Street Thursdays 1st and 3rd R.C. Foward Street 2nd Tuesday in month 2nd Wednesday each month R. Leeds Aihton Secondary School Photographic Society 3/5/5/7/6 W. 108. Chemist. Aickin. Grange Road West. Belfast P. 2/6 £1 Is. Aberdeen Century Camera Club Aberdeen Fhoto. B. Castleford Road. Greeba House. Holdsworth. C.P. Crunna.P.L.. Sparkes -Madge.A. Jr. fixed 5/7/6 Belvidere Crescent.. Wednesday H. Bath Scientific Institu- Alternate Francis H. Treasurer G. G. Waterioo. W. Accriu^toa Ladies and Acton Photographic Society Monday month AffiUationi in Juniors.Lyne grajpfaic Society Pboto. Birkbcck Road.C. Wellington Place. J. kenhead H. Blackburn Tuesday Friday . Aberdeen Street.. Birmingham Medical Ed- Tuesday Alternate 1/3/6 (School Students onlv) Gents. Allen. 5/Ladies.C. . Finchley Road. 39. Bedford. 154. S/6/- Miss Mary A. Aitken Street. Union Union Street. Belfast V. Bishop Auckland Society Monday in month 29. 11.M.) Armley and Wortley Photographic Society West Leeds High School. Waring Screet. France. Thompson. Sparkhill members and Birmingham Club Field Naturalisti* No. OldGeld Road. Ashley Road. Bohon Camera Club Bradford Buildings. 101. 8.. Armley. Street. . 7/6 10/6 Ward. Birmingham Medical Institute. 33. Lozells. 24. Birmingham J. 36-38. Newnham Rooms. Cotton. Hurst Street Tuesday Ladies. F. Birmingham Municipal Technical ^ SLhool Society^ Technical School. Camera Club Photographic Wellingtoa Place Men. Handsworth. Name and J. 71.. 2/7/6 J. Club Night. Birmingham W. Annley . Union Aberdeen Tuesday Accrington Camera Club Market Chambers. Birmingham C. . 3/6 H. A. mund Street Two Arts Club. Y. Barnard Friday in month Barry Camera Club Bath and County Camera Club Bath Photographic Society . 3/S Percy Lawrence. Street. . Bootle Beetle ^ Amateur Society Photographic The Library. Gray. Not fixed . Edmund Nelson Street Birmingham Birstall. Ashtonunder-Lyne Aihton . Moorside. The Birmingham Photographic Art Club Society John Bright Street Institute. Bath Thursdays . Carter. Every triday in the Beaumont College. Accrington Churcb£cld Hall.. Art Club Aberdeen Photographic Aisociation Not 220. 5/3/6 2/6 D. Blackpool 3rd in 1st in Tuesdiv Juniors and Ladies. William Blakeley. Vineyards.A.M. Horse Market Pharmacy Witham 1st and 3rd 5/- E. Birmingham Philip Docker. Cutliffe Grove. Anglesey Street. Address of Club Room or Headquarters. Howell Croft Milb. F.. 60.under . V. 3/5/Ladies.S. Perrett. Storey. J. Leng. 74. Hanvey. tion Mondays St.

Naaw aad Addrau P. Loodon. BraeUn Hall (Hall Stract ealianc*) Bristol . Camhtidga Street. Canterbury Cardtf CaaMra Clab Cardiff yjlLCA. Fonat EOl «*- ColsMn. CaraMatia Clab y. The CoHtfe. vravbic Sacialy rbii b aala r Pbatarrapbia Tacbalcal laaUtal*. Maofaaa tbrni —tun T.. Aeroolaae Co. CacnouBtie H.. ib»- J. Cheltenham J. YJICA. Braana. 0. 103.. cto Britiib Cdhdoaa Co. Ltd.CJL Caaara Pbala.. Sydoaham Lodge. laali- Fanton. Brechin Ph*to(ra*Uc Saciaty W««| af Tbimday aid aad 4lh rfldajr in H. Arley HUl.. Broad. 5/- Pbata«ra»bic Ubarr lad 4tt W. 341. Caiden. Edoiaaaa Camara Clab YJf. 2/8 10/» E. Tbnndayt Scbool a< Mix-. Staltbioo. Newport Road. J. Radyr.A. Mattbewi. Street. Barton. Cb arla i PbaUcrapbU CilT af __ Saciatr Prf^raw CoCtafe GarAn* HamUlon Road. H. B»r»«»fc PtlittMhaia 103. Ctaelteaham R.I3 7S. Bradford baa Brifbaaaa Brialol Mtrhmlri ' laMltatc. J.SpriM AHaiaata WUKs. BuiToagbi. Bourn Tburadaya Bourn villa Empioyaca Wm W. wood. FUtoa. Jonia. ^odal VAllied J. CaMhnd«B •/- i«/- W. Cltttoo. Ilaialniihl|i CI Caalarbarv Caaaara Clab Bmaat BatFtoca 1/iae. Willlimi. Laureooe. Cbotley Sttaet. Ltd.-irloa Street. Itaisdajr U/6 »/- U.. SX. WtaM Stiaat Britiab aa4 Calantal Caaaara < i SlaO Uem. CatrotaUaa Road. 70. Samuel Street. Pittoo. Boumoaoutb G. Mm tetai(blfy V laa. Newtown. McAoib. ><KSade«y. iaaacb aoalb Spoodoo. Cranbam Koad. PbatagrapW* Staalay S«nM Edmunds Ray. Leigh Road. CWabter KawUaion.M VM. 20. Mary Vale Koad.E. ISS. H-. Y. W. CmmitUf Commll Partan. ViahweU Road.2 R. Lld^ Cbrmitti' Club (Pb«t»> frapbic aad Rambliai Sa*> tiaal i and CM. Saciaty . WlMin. Stadia..C. S. Caa«lalord VJM..A. Boaraville Lare F..CA.. II It. W.B. B. bridge Albany Street. NortbfieU Cottafc. Craicwla. MoCiMkiT. t%yitet Lactaia Ronm Imgnlar Mcnbanbn natilctad «/»/- A.C. T^Mday Altgaita Tbarvdajn W. ban. 82. Kuner. traabia a a iia tj Exprcm " OSoe. 7/8 Tbe Sacntary. Halo Balnnoa Tbandar 17.. P. aad Oieatao. Caitlelord CalArd CaaMra Clab Calfard aad Faraal Bill Tanidoa Road. Camp HUl. Owm. Bnad. S. Arley HiU. 7*. Black Princa's Chantry. Bristol 10. S.. oi SecreUiy. f-»-»»"'»'"'|t r«M>aala^ Caaaara Qab CaBara Oab Caaip Hill M Yanl. B. 48. B*aranJU C*m«ra Clab F Charlton.. Laac*. Dlrmliubam A. 88. Laadaa aad CripplacaM Cripflifala laMltate ZMl aad 4lta 7/6 7/8) Pbalatrapbic Sacaatf Moodan LH.O. Hanwell. 8. WilUam Street. Spoodca TbundiT State E. E. M. A. O. Bridie Stract Uaudvf ltd TbBf*. 7. Canton. Carlton Stzcat 10/Youttat. Caiaera lUub. Short. Bemcs. C. H. Ltaa Gt. Oaaibatna. & AcTaiilaiw Ca. B«rr Bart rt Si. laiairitl Sqona rraabic Sacaat* Wadnaadajr* C allata Pbata. Gardiner. Ingto- NataraliaM' Sadaly (Pb*la«ra>bM Sactiaa) HIcb Sinat 4tb Tttadajr W.7 7/6 Aaalaar Pbala- I. M. moDtb *h Sl- Geo. M. Bristol J. Aimoal Sutacrtptioa. Biiatol n. H. Ca-k niMfili' dob. S. Bristol I Briatal Pbatacrapkic : Stackaya. Adalpbl.C. Wadaodajr Taaoday Altaraata »/10/Rcctiictcd to Boroogb Road. near Derby BaraUy UKbaaici' laalilalio* laalitntJaa Caaarra Ctab Altemata Tbtmdajrt M'a< laatitala) Cotter. 1/6 Bntiib C*llalaaa aad Cbamical MaaafactariBl Co. Moniataa Sttaat Gavin FcTfiaoa. 78. A. 128. Moth Stmt. Oaaaa Straat i. SUA dab.E. B. P.E. B rili ih j Sqim. Burfe^. John Street. Recent Street. Roaa. Greabam London.M. Biigboon aad Amatcar Eaclaaal •Ml PbatatrapbU W. 55. Brockanhurst Street. & C. BlairfaUl. Sydenham. 1/8 7/8 L.A. Bury 7/6 . Baatoa Pbatetrapbic 5acia» > Caaabaraa Scbaal of Mil rrapbic Saciair aad Oiatrkt PlMt*. Capbic Saxialir a PbMairapUc Saciatr V»/Allacaala W. Silvardala. Jaolon. London. Yootbi. J. Latdoa. C. Burnley. 85. Soott Cbahaabaa Cbahaaibaa INiMarbnln lau.Ladiaa. Benaoo A«ur lariatT Bwy. Ltd. Briatol Not «ath bed jtauon. Ennendale Road. Jooion. Banii«h Row]. Thanda' dalj. King'a Norton BarUe. Caidlfl Ovartdgb. Cbarc^au Ut Toaaday hi anaib PMdar »/- A. King Edward School. vOle Br*^*r4 PkalocrapUc Br<ckia Pkalairapbic SatialT Ai Mwhmtn Town I ! ' laaUtnle. Pcnbore Road. Old Edwardiaaa Hl(b at. Loodon. YJICA. 8/'mtilate OHn- St. Bntlet. Biaton 15.CA Straat Bafbttaci. Camtts Qub. Glam. Qyds Home.: . Sonvna Cottage. A»- •aciatioa Brittal Aaraplana Camara Clnb Osb dab : WariaSbMto. B««nMiBoath Caa»«ra C}«k 0«M Boon. 17.B»M<)iA<n)plaacCo. la M. E. Akarayd. aad PWL. Old Cbristchorch Road. Toren. Grove Avenue.C. CalUaocc. F. 24. Ltd. Ftail* HiU. Bristol 1/6 V. Caacrafaliaaal Cbarcb Rooa ItartWMlb Han. ^fcia Clab ratm Ram 1/6 Cali. Londoo. SHiM.. AiMyM. Siocfctoa-OD-Teet 3. 41. Manthlf Ahataala -nMidaya TiMi. C Altemata Wadaaadayi Not bad 3td WUliam F. MeleaUe. Addraa ol Qob Room i Chib Ni(ht. 7. FUtoo.. CWaalaad Caaara Clab CaalbrUf* tacialian Koaday iBd C B. Coat> Tbarabr . Redlaad.

RusseU Hill. Hall Gate. Castle Street 38. . Liverpool Road. Glas- Tuesdays Thursday Greenhithe. E. 2.. W. M. Yorks. Thursday. near Aberdare W. R. 21. Erdington.M. Comwallis Gardens. Birkdalc Road. Castle Street Miss Ridpath. "Hill Rise. T. 2. Aterieldy Street. Bright Street. Union W. ThiilceU. Dublin Carey Titterington. Keigbley Road. 7. Hill. Address of Secretary.. Exeter Eakenham Literary. 2/6 5/5/- Dover ^ Institute Photographic The Dova Not &xed Institute 2nd Thursday in Chas. S. Tremayne Blackshaw. 6. Memagh. 14. London. 27... Qayton Cwmaman ^ Amatenr Photosrapbic Society Daimler Photographic Society . Grenville Street. 10/6 1/- Sunday) Pbceniz House.45 p. F. . Mayfield Place. 7/6. 4/5/- James For^ytb. Sussex month 10/6 2/6 Friday 38. Tutton. J. Camphill Ealing Photographic Society . Eastbourne Eastbourne Technical Institute Thursday 4th Thursday in Eastbourne Natural History* Photographic and Literary Society (Photographic Section) East Sussex Arts Club ^ 5/- Frank Nelson. 10/6.A. Campbell. Elvet Bridge. High Street. St.G. bers. 6/-. 10. High Street. Ormond Road. . Manchester Road. Ladies. 5/- Cowlairt Co-oporatiTe Camera 264. S. Glasgow Entmace Devonport Camera Club Not fixed fee.C. South Lodge. Hart Street. George Street Culcfaeth School Wednesday 3rd Wednesday J. 26.. 127. Coventry Membership restricted to employees Dartford Photof rapbic Society .. Crolt Park Street Juniors and residents outside Coventry. Every evening 12/- H. Lewisham. Club Night . Monday Thursdays. Camera Club 3/- Woolmer Road. Cwmaman. 10/-. 8. 13 Alex. Massie. Name of Society. 26. Fakenham Street. Daimler Works. Grosvenor Road. Vivary Buildings. H. 7. 136. tern. Little Wednesday S. Shaw. Dennistoun.\rt Friday . Railway Row.E. J. Beeston. 15. West Lodge Avenne. 20. Town Hall One Wednesin month Last 10/6 Eastbourne Municipal Secondary^ School Photographic Society Eversleigh Court. Dover Society month G. Brookdale Road. Langroyd Road. Anne's Road. Derbyshire Bridge.. sylvania.. . Springbum Road . G. 9. 5/- Elliott Camera and Art Club Century Works.3 Walker. West Institute members. Glasgovf 6. S. J. Evans. London. Clarendon Terrace.. Lewisbam. Brinsby. Colne Road. Coventry . Hastings Edinburgh Photographic Club . Kay. Darwen Dennistoun Amateur Photo- Wednesday graphic Association gow Technical Schools Central Liberal Qub Street New Science Room. Buildings James Durham City Camera Club . 16. Crompton Camera Club Croydon Camera Clnb Cnlcheth Camera Clob Shaw Every even- 10/6 Urban fee.5 . 128a. Irregular Not stated 6/- Erdington Photographic Ericsson Church House Telephone Works. Polegate. Address of Club Room or Headquarters. Dukinfield Slater. 8 p. Pro J. 4. Waleraad Road. Colne Camera Clnb Friday 107. llidton Street. Little Institute . Club Craven Natnraliett' and Scienti&c Association Section) Science and Schools. 7/6 10/6 Ladies. Oakfield Road. caster 7. Jos. Guildhall . . Purlcy A. Strand Road. Lanes. Entrance 2/6 Lindley. Park Street. Blackford Avenue. Acton. P. Kent R. Dartford Alternate 2/6 5/- W. Sldpton. Holton.. 4. 4. 2/6 5/S/3/6 W. C. Dennistoun. D. H. Nottingham Everton and District Photographic Society Exeter Camera Clnb Breck Road. Camera Club and Council Schools J. Springbum. 21. Gents. 38. Rathaines.. Dublin Camera Club Dukinfield Photographic Society Alternate . Morey. Annual Subscription. Notts.E.. Nortk Road. Entrance 1/6 fee. Astley Street Wednesdays Wednesday Thursday 5/10/5/- W. Don- Tuesdays Ladies and Juniors.m. Dundee and East of Scotland Photographic Association Y. Russell. Not fixed Wednesday day Wm. Cwmaman Workmen's 7. Diion. . Vacy Lyle. H. Skipton Friday T. Edinburgh month country & memGeorge W. Sellors.. Shipway. Everton 10/7/3 5/- Bamtield House Field." 50. Darwen tion Photofraphic Associa- Arch Street 27. Dewsbury J. Bromwich. Spring Lane Manchester Unity Buildings. fee. Birmingham John A. 24. Name and Hy. 11. Ihursday 2/6 L. John Macdonald. Stone Park. Durham Roscmount. Mayne. Barclay. C. ing (except Entrance £1 Is. 5/- Faversham month {See Separate List. W. : J. PennFrederick G.) Finsbury Technical College Chemical and Photographic Society Finsbury Technical College (Room 22). Hillfoot Street. Tuesday Alternate Bootle J.m. Broughty Ferry A. Evemden. Holme Cottage. Road. Victoria Road. Singleton. Highbury Leonard Street. Plymouth Dewsbury Photographic Society Doncaster Camera Club Bond Mcmday Alternate Albert Lyles. 32. Faversfaam Institnte graphic Society Federations Photo- Faveisham Institute Tuesdays 3rd Tuesday in W. Maish. Co-operative Hall. Sellers. Buildings. Edinburgh Photographic Society 2nd Thursday in month 1st and 3rd Wednesday in T.. Edinburgh 15/Ladies. (Photosraphic Collinge Street. 68. Coventry Coventry Photographic Clab 7. Ashworth Street. Banyard. Bramwell.

I. 2/6 laatitnta NaoM and Addrau o( Sacninr." Allansbaw Street. Croaland Moor. 87. AothooT Wright. Randdl. N. EadOB Geo. nemben. KeicUay pbic Aaaaciatiaa Kaab FmM Oab (Pbatacraphic) John PMe. Gonei- Wedaaaday* Craai Waatara Railwar Litarary Sociaty (Pbatacrapbic Sactiaa) Baitboana Tenaoa. 18. S. Greenhill Road. 112. HoddersSeki W. 10/6 7/6 »/- Walter North. F. Eatnaee Bopwood Tana Wedae«lay Irrtgular 2/B »/- P. lllocd. ftOO m* Noo*BMnkbexvi Glaacaw aad Waat ol Scatlanil Aoiataar aociatioo lao. Qover Hill. BeUaoot Brynti«.E. T. Copeland. London. Urn. 194.. Colwyn Road. Bntrance Street. Hamilton J. Cannon Loodoo. Board Room. IS9. 106. Camtthen. Doyle Road. Lanes. 73. Tbunday Friday in each 10/6 10/- Alex. 2/6 5/- John Cox. Bndoa. Annoal Sabacriptkm. Pembury Road. Smdlie. Glbaon. Pliaca Artbnr Road Not aiad : Ladi^ 5/- V7/« 2/« H. Oar* HaD. London.) Kat(bUy aad District Pbatagra- Vmhminr tosHtnto . Teague. H. Goole. MnsUa Street. Haatmarsmitb Hampabira Haaaa Pbataarapbic Sacialy BoMpalaad Pb«<acraphi< 3 a ua« f tllMlblw Hooaa. Jamao..W.. Hackaay Batbi . L. Stratford. Alexandra Street. Greenock PbaUirapbie Siiili GoiDe-Allte Utarary 219 Bin Mabel A. 4. Darttord Iraovorka . Uatshiield Road. Kdlb . 48. Tborold Road. E. Mecbawa' Institute. DmHotii 27. Noita. WcU Rc«m Street. Lynwood Road.3 Place. CA.E.M. Gotta.. E.A. Mln M.M. 5/- Lairgate. Pint Wedoeiday is IDno l h Honce Beny. HaUside. Field House. Surrey Educational Huseom. London.CJL Hcadqnattcn. Geo. Brighton Portland Backaall aad rrapbic Saciaty Pbal*- YJLCA. Rodmell.R. S.ILCA. Terrace.5/2/6 SI10/« Proalekmal Lady aaaoc. Baaax lUard PbotaiTapbic Saciaty Obaataa Arts Clab Ipawicb ScasatiSc Saciaty .I7 R. Lawtoo. Gny't Hospital. M«at of Society. Tbe 44. 44. Toaiday Jaaws F. tilea. Bnwk. Cadunr Street . J. Ltd. Whitehall Road. nulmirii SacoiMlary Scbool • Irmtnbr B. Biidgetoa St. Eastbouine dington. Grove End. Loodoo. Tbnnday Winter: ay tat 1st in a ith. Craaawb Camara Qab Caaraaaf Kflblalo Street 7/6 Ja*. Beverley.. S. Corwen. GUafcm Booday IVio/« GObert fee. B. and E. Stok* Road. Cowan. Tbmiday Friday or IVtty.A. S. Hnck- oall. London Road. Road. 126. 311. Asbton-io-Maketfidd Wedneidajr G3. 76. Hampstaad. PuMlnittai. Tbe QUI.I Walter Selle. Horwkb Ban aad Brifbtaa Caaara Dirtnat dub Not txad 2/« B. Stan StiiHit. Croai YJt.. Cay'a Halifai Nutaaa' Hoim. Loadoa. Harrow Stl^S Boon. E.. Wedaeeday Inagalar 1st Wed. C3. E..EntraDce 2/9 fee. near Kmt J. 3. Old Road. .. Malroo's Oflk». St James's Street. BaaliT (Sodoo SaetiGn) Pariib Rooo. Stadtok Mil > Mil I' InMitaU WadnHday Irrafnlar V>cftbe lastitala oitly 16. Ilkeston Harry De Beer. 24. HaUias ffiiwyaf Sf mwl. Catk Road. Loodoo. Tbunday Mooday R. Free Library. Babdaa Litarary Sacsaty ( rraabic Sactiaa) Sciaatific Brid«a IndSatta atb Edward B. Goole B. •tit«t« Hall ColkriM I» Camera Clab Macbuiea' iBltitat* PlMta(T«»bie SocmIt Wi«aa Road. week bera V. Roberts. Mon Street... Richards. Badda rstald Naluraliat Pbatacrapbic Socialy Ball Pbalatrapbic Saciaty Byfaia Caaaara Clab mmt TacbalcaJ Colkfi A.W. HaUiMa CaoMra Clab HaBuhon Nataral Hittory Pbetocrapbic Socialy Vktorla Hall FHday Baliaaoe fee. McVeao..) Dawson. Glea Terrace. Loo- 7 pJB.. 383. " Braefindon. Loodoo. B3.. UBniMCI G. Ploaaar Street. Ho( Lane.R.5 Raginald Winks. c/o Mean. dapton. WnUaa ih 7/« Boyd. Ika LoMbaoa daby WbOlaftaa Boa^ Road niiibhigbaa Gale.. 36.. Goneinoa Alternate W. Pholotrapbsc As* 12a.B. oC Thanday Not fixed W. Btomley.. W. Crawford. mere. Cadt Han. Haodtwortb Pbolatrapbic Sacivta Thotiday TViaaday A. IroBVOflcSa S8. Paik Aaaooa. West Regent Glasgow Claa««w C—U Y. in caootb 7/6 Ladl«. Glasgow. Phetocrapbic Clab Garaaiaaa mud Diatrici Aaaalavr Pbatacrapbic Saciaty Eaatara Aaaaciatiaa Pbotograpbic Laadnaty Stmt. Hebden Bridge Barwicb Macbaaica' Laatitala . E. Upper Tooliof. N«tb Goole OpcD to nwiD- H. Ashtoo-in- Canwoad Cf-R. G. Halifax fee. Not fixed A. Ptaa Ubtary O auUoufc «. Uttle Weigbtoo. West Hartle- aab Caaava Bdnrathwal ITiiiiim. Birmingham Haalaa PbalofTapbic SwiMy Taaplemta'* Sbaltoo Stodio. 007** Hoapital. Goeraiey Tbnnday None 7/6 10/- Pb«ta(rapUc Naraaa' SaciatT llacbaaf Pbalaarapbic Socia«y. HasleCroft Terrace. Glasgow mm4 Pablia Ubtary. Handswoith. Cyril Gray Stiact. South Street. . Smith. S2.. Newton. Pad.C. TW Maeaoa laaUtal* Ifn. H. Stoke-on-Trent Hallwater Villas. (Pbatagrapbic Sactioa) Sciaaiific Halifai Sadaly (Pbolacrapbic Sactiaa) Halliard Pbetoirapbic Qab . Clare Han. W. 5/- wTswantoa.. Ipswich S. E. Imgnlar T^Miday aad DiatricI Y. E. T. Hall. York!. Imrdar .C. Stratford. oB Park Stnat aia^t. Halifax B. Jones. Wadacaday Hartlapaa la Pbalatrapbtc Saciaty Baalaisara aad District Tacbnkal Colkn WaM Battlapool .15 New Town. Chandos Road. G. B. S CoUadge. Boultoo. Thomas . Savage. Addios a< Cinb Roon or dab Nicbt.. Makerfield. lostitnta. Bifh SIratt Tnaeday = *'Boo.

Alternate Annual SubscriptioD. Room. R. Leeds Brandon Grove.M. LondonLondon. . 16. The Gables. Salisbury Tuesdays Kennaway Photographic Society Kidderminster and District Photographic Society King's CoUego Photographic ^ ^ CM. Lanes.C. S.. Kendal 16. Thornton Road. W. ICidderminster Kind's College. Stretford. E.A. derry London Salon of Photography. Leek Photographic Society Leicester Alexandra Club. Loose. Libby. C. Leeds Leeds Institute. Sang Road.M. Geo. Not fixed Institute. Maidstone and District graphic Society Malvern Camera Club Photo- Church Maidstone Tuesdays Tuesday Inegular un3er 18. Hoyland. Newton Frank White. 26.C. graphic Club Y. Bennett.. borough 7. London.I R. Stannix. 11. 2/6 lO . House.. London. Strand. S.C. month 5/3/6 Seater. E. Peter Street 1st Monday Social Club 2/6 to A. Devonia. Rose W. W. .C. Leicester Literary and Philosophical Society (Photographic Section) Leigh Photographic Society . Coburg Street. Airdrie Woodbum Wednesday for Gents. Ogden. Spring Gardens. Middleton Road. Arnold M. Duffield. Tuesday John Chapman. Malvern Thomas. Ladies and Hy.C. Kendal Photographic Society Public Library Webb. 2/6 W. . W. 5a. London. Lough- H. 52. 130. Kirkintilloch Tuesday Geo. I-eigh. Eberle Street Wednesdays Thursday (Club rooms open daily) V£2 2s. Hope Street. Hill. 79. Pall Mall East. Moxon. Vicar Street. High Wednesday 1st in the College 4/Ladies and Juniors. Clayton. 4. oflicials onlv) 7/6 Wallace L. Car- Alternate Liverpool Amateur Photographic Association 9.C.P.C. Baird Street. Saville. W.A.M. J. Glas^oT Pet Marjory's 1 hursday Kirkcaldy Photographic Society House.Sc.W. Juniors under 21 10/6 Liverpool Central y. Photographic Society. Mortimer.. Lewes Scientific and Literary Society (Photographic Section) Liberal Border City Camera Club Lewes Town Hall Liberal Club. Co-ooea^tive Hall. Market Place Monday and Thursday Wednesday 5/7/6 Ladies. N. Union Street Council 7/6 City members. members only G. Bedford. City Museum and Tuesday 2nd Thurs. Deveron Avenue. 60. Manchester Photo - Y. Manchester 167. B.C.C. graphic Society Society Manchester Exeter Restaurant. Alternate 3/6 J. Photo- 5. Market Place 6. 112. in 5/2/6 J. Beechwood Avenue.W..M. 3/6 5/- H. North Road. A. Doggerbank House. 9. Stretford.. Deansgate Entrance Manchester Stewart G. Monday Wednesday Every alternate 10/- P. Manchester Manchester Photographic 2nd Monday in month 1st Wednesday in month 2/6 7/6 2/6 per Manchester Social Photosraphic Society Manchester Social Club. Kirkcaldy Kirkintilloch Amateur Photo- Street Cross. Lower Mosley Street. Airdrie Tuesday Ladies on SI- W. Graham. Manchester Amateur . F. Strand. St. The Loughborough Photographic Society Royal Society of Painters in Water Colours..M. Eberle Street.. John's Terrace. Sambidge. Leicester Art Gallery Market Buildings. Robert Rodger. Tempest. 9. Cowgate. Kirkintilloch graphic Association Larkhall Camera Club month 8/- Crossgates Alternate Fridays Entrance fee. London Street. 135. Monklands Photographic Society Victoria Place. Membership restricted to Society Kinning_ Parte Co-operative Society Camera Club W. Harrow Road. 4/7/6 Ladies. lisle 4th in month Lowther Street. Hopcroft. Leicester county members.. Kingsley Hall. Peachey. Spring Gardens.. S. Malvern 99. L.C. Cross. Co-operative Buildings. 18. Salisbury Square. B. Govan Andrew Murdoch^ 22. Young. Merrick. C. Derby .M. Cardigan Lane.A. Entrance Hossack. Cyprus Street. Irregular Membership restricted J. Mount Pleasant Irregular J. 5/Juniors. Club Night. G.. King's College. 5a. G. subscription and 3rd 5/- Monday in month 12. Leith Leith Amateur Association Photographic Charlotte Street Last Tues.. London. 20. Lower Mosley Street annum minimum of the Membership only open to members Manchester Y. S. Alfred Road. Larkhall Leeds Camera Club ..C. Y. 2/6 Underwood. ' Name of Society. 128. Park. Maidstone 7/6 7/6 P.A. Charing Cross. Restalrig Terrace. Pall Mall East. Manchester Social Club. Strand Road (temporary) Irregular (Restricled to L. £1 Is. Melbourne Road.4 Irregular Membership restricted to stall W. Carr Street.A.C. 37. Leek Leicestershire Photographic Society and Working Men's College. Manchester Jas. Wore. Hy. Park Road. Cooke.4 Square. New Street. 5/- Ladics. 86.C. Moore. Aikrigg VUlas. E. .. Sloiirport.\ddrcss of Secretary.W.B. Address of Club Room or Headquarters. B. . Derby Bank. Jarvie. Leeds 12. Blackfriars Street. 61. in month Tuesday E. J. Birkenhead Camera Club London County Council Camera Club Londonderry Camera Club County Hall 1st Addition to Y. E. 2/6 7/6 s/- William Maxwell.A. 80. fee. Name and C.. London. Midland Railway Institute Photographic Society Midland Institute. Graham Lea. Liverpool Lady Associates and Juniors.. (ee. Jenkins. Carlisle Geoffrey E. Cookridge Street Cookridge Street Monday Tuesday Leeds Photographic Society Institute.

I I . 7. 2/6 Iks. Muswell Hill.IO B. 14. StpmU End. Becker legge. Pia^ boa Cos'a Drag Ston. Saciaty RMd. lOS. Monday Wednceday Tknraday Alternate 4/- E. FisbcrgaU HIH.... C • PJB. Loodoa. 53. Cowperthwaite. Morpeth S. London. Leabum Terrace. Gilbert WlUin. 2/6 10/Alex. Oldham Entnaee tit lie Rosa. Merp«lk Y. Nime o< Sodelj. WUlifield Way. Chapel House Road. NawcaalU Nawiwrt (Suff>. Proud.C. Rklge. SHood OSca Green. Regent Street. H. Fomat SInet Vicloia HaU. Hogarth Hilt." 17. Baak AaMttor Pba(a> trapki< S aaiaty R. Blundcll.4 Plymaath laalitatiaa fapbic Sacliaa) Falytacbaic Saciaty (Phata- Street montb Ut and Std Moodayt in . 8S. Preston J. 29. Diairiet Poet Montbly . Co. Dickens. I.) Pbalamicratrapbic Saciaty Kb«^ C«lk«e. J. DeU. G..CJL Caiii«ra Clab YJt. RaUenis oatalda Oly.CJV aod Juniors.C. aob Nigbt. Portimoutb Lilt. . W. L. I." Sutton. London. RaddiSe Mount. London. Stalls. Finsbnry Park. Bank. Swindon eii iy S/- rapbk aad Dialrid Nalta Pbate Pbata- CiMIe Uwttmm. Newcastle.MJ. West Uridgford. near extns. 15.1 Yoolks. Pod Street S|6 Alez.W. 2/6 Not sUted 5/lostitata MoUMftMU y. StaSs. I Sacsaly in at in month Monday montb Rkhatd lee. 40. Cranlev Gardens. Carnarvon Street. Stnbbington Avenue. 30. Fisher. Northampton entnooe. Neilston Road. 20. Swiadoa IW aad Srd • Pt i W. Tavemer's Road. Stuttard.H.card aad Saraay Sacfatiaa Tbuisday Vacj Whitehouse. AbiDCtoa Street. " Cnnteth. Morley. lee. Glasgow Ladiaand Joniocs.. Peterborough Mondaya F. 1/- Nortbaab SscUtT Cisa) Nataral Hiatarr (Pbatograpbic Sac- 63. Upper High Street W.. Plymouth Pbalairapbic iMirk— PiKa. Oakkbair Slnat PHday WcdncKlay Alleniate M. Tnadsy Alternate Fridays 8/8 B. <1 Is. IMatam Rsooa. G.] Praacat Pbatacrapbic Saaiaty . FUmate . Alienate II la. Georte 14. Totadar 10/6 frapbic Society Oldbaoi EqnilabU Pbatecraphic Hope BoMooM'-Voor Street . 79. Bnwertoo Road. S. Ubnzy and Art CaUery W. The Albenawa. Pr iHaa Canara Clab Praata* Sciaatific Saciaty (Pbato* rrapbic Sactiaa) Pradbaa aaj Dialnct Caaaara aad H. Davles. Kent. J. Dublin J. Coiao Pubik Not stated 5/- Arthur Cummings. Brudoo Stnet Ahomate Mondays and every Toompson.I Soiitbaee Monday. Quarry Hill. G. Loodoo. Preston. lee. 30. Caldrr Street. 2/6 Stanley Shand.J. Nottin(lum Stiaal. J. 88.. Strand. Ptudboe-oo- Clab Oaarry BntnuKS Tyne E. 18.4 Wnl Loadon. LoodoD Road Newport 5/- A.W. Nelsn " Ethandune. . Camera Ctab V JI.. Nonricb II. Pratoo llta. Motherwell members. Eookatoo Park Stanley Chanben.) Camara Clab Tba 84. lenraetw Road Monday and Ikmsday W. N.. Tbonday* (Sm StpmnU . Nortbamptoa Nartb Nartb Middlaaas PbatatrapUc Pbale«rapUc Mount View Caa(feg«liaBaI Cburcb. Maynard.. 5/3/6 F.. CaUwell. Lucas. N. Sntlaad Road . Oxford Mondayi Paialay Pbilotapbical tiea (Phalofrapbic Particb Camara Clab 2S.. W." Spring Bank. St. 176. Litt. GOe* Stnet Monday. GolJers Gteen. Oldham Street. Hcndon. Victoria Morl*T PbatosrapUc SocMty Sootb Qotca Street Tbnnday Monday 5/. Bioadgale.. Bradbury. " Houplioes. London.C. 7/6 10/Tuniots. Oafard Caaaara Clab The Lyceum. tl- Patarbaraosb Saciaty PbalacrapUc Tbe MoeeoB.l W< ^edaada] at. Nelsoa Tneaday Satarday W. Suony Bank. Studio. Tueedajf Tneaday Horace Partiidxe. W. »/lastilatlan. Uniyenlty Mnaeiiw 2/6 »/- J. BBtry la. A iMi oM 75. J. Londoo. Ambler Road. Mortimer. aut. . C. 06. Nottingllam E. 5/- WestvUla Road. /nnuai SubecriptioD. UnHad Methodiat Srhoolroom. Road. Smith. Junr. C.C. 2/6 Altrmala TboTtdsys C. Pbalafrapbic Caavaaliaa af tba Uaitad Kiagdana. Coppk» 38. F. Loodoa. Field. Every Wcdoeaday «I2« Ls^es.and Sam Shipstone.W. Northamptoo biesuUr T1i(iT«lay s/a J. amd Moamjutkahir* Caoiara Clab Nonbamptoa Caaiara Clab Hl«h Street. near Briciley Brick-kiln Street. BUkdey. Sad aad 4th Wedpeaday 10/- J. Mount Gold Road. N. Fmcbtey Koid. Farinedon Street. Norwich Eatrance I'- Natliofbam Saciaty aad Priham Stnet. 41 Park Lane. North Camara Claba :Sm B. The Lymim. Warrinftca Road Thoaa 7/6 Ladles. Vkitoria Road. of Qob Rood or Headquartci*.4 PWlatrapbic Sacialy af IralaaJ Pbatatrapbic Padaratiaaa Royal Collcfc ol Science Dofalki .I.. »/-: Ua. Oldham OMham Lycaam Pbatafrapbic Seciaty OMbaa Pbalairapbia Saciatr . . A.'- E. 14$. N. Bridge Street. Old Lane. Hon. Paiabiy Uaisaiaa Cracaut. Watson. Partiaaalb Canara Clab Paatal Bin Gnae. Granville 15. 68a. Ladies Leeds Whittle. Barrett. 3. 35.A. SaciatT Nartb Wilti FiaU aad Caaara Clab Nararich Teefcakal laslitatlaa. 2/6 »/9110/- MuwaU Hill Pbetoirapliic SMMty NaUaa Camvra Club Nalaaa Pkotocrapkic Sociaty Wedncaday MoiwcU HOI Wcaleyao Church Hall Alternate W. 54. 8 pjn. Tba Tndor Street. Ablngtao Street. E. 309. Wnsoo. HamDtoo Road... Barracks Road. Name aod Address of Secxetvy. Taykv. Newport. C. Gilmour Crescent. Paatal N. Qneen Stnet »/• »/- P. N. 22.

36. 7/6 Entrance fee. lee. J.6 Alex. Sheffield 2nd and 4th Wednesday in month Richard C. Clapham. R. . London.P.ewishaxc. W. Town Hall. London. Court.. Greenwich. month £2 2s. Bilston. South W. Southampton G. Crossley. S. Knowl. Yorkshire Street Castle Hotel Tuesdays Thursday bum-on-Tyne 10/6 J. 2/8 5/Juniors and Associates. East Avenue. £1 Is. S. and G.C. St. 398. The Museum Not Fixed month Alternate Sf~ and 2/6 2/6 10/6 Wednesdays Durham J. Chalk.I Tuesday Alternate The Secretary. 2/6 5/5/12/6. H.M. Museum Hall Irregular Musham. London. Hairingay. Rigby. Couper Street. Clun Road. Cross Burgess Street and 3rd Tuesday 10/6 James R. Crowley. Southport South Shields Pbotograpbic Society 16. Russell Square.m.. . Society 40. Townhead Glasgow E.. 74. . Lincoln's Inn. Russell Square. Y. High Street. H. Ltd. 1. Southampton Camera Club Southend-on-Sea Society . 299. Road East. 2/6 H. Helens RoIIox Co-operative Camera Club Scarborough and Amateur Weaver gow Street. Tuesday at Scientific Society 7. 5/Ladies. Smith. E. Morton. D. Green. Allison Street. Rugby Road Glasgow . Hyde Grove. 5/3/- Hugh Monk. Technical Staff Mess. Rockdove Gardens. . Bright Street. Evening Class in P holography 12 . Irregular Annual Subscription. W. Name and E. East Ham. Manchester and Hallamshire Photographic Society Friends* Society Wentworth Caf£. London Road.E. " Delves. Howard. Bankhall Street.. BuildKS* Exchange. Presbyterian Church.C. Hants 6. Mirfield Springyale Amateur phic Society Stalybridge Photogra- Stafi Canteen (Sir Alfred Hicktaan. 2. Tolicross. 6. Thursdays Alternate Sl George Co-operative Camera Club St. Hartshead 2nd Wednesday in month 1st Sheffield Photographic Society . 17.C. Name ol Society. Gladstone Street. 95. Parade Chambers. Stafis. 1. 2/Gents. E. 48. Willis. London. District Photographic Society SeahaiTi and District Photographic Society Sclby Scientific Society Philosophical Society's Lecture Room. W. Famborough. . inclusive of Portfolio London. New Hey. Above Bar for Monday Boys Not fixed Photographic High School South Essex Camera Club The Institute. fee. Victoria Reyrolle and Co. Employees' Alternate 3/6 Sylvain Hourlay. near Leeds phic Society Rotberham Pbotograpbic Society Royal Phototraphic Great Britain Society of Wilfred Street and 3rd Tuesday Robinson.C. Cromwell Road. Hcleni Camera Club St. 10. 159. N. 5/Juniors. Bir- Thursdays mingham 5/7/6 5/10/6 Not 93. Entrance fee. Glas- Mondays Wednesday Friday Hesford. Pinstone Street . S. U. 7. 5. Haigh. 97. Hard Lane. 244a.. Cook.. Wolverhampton 9.W. 10 Roy Beaumont. Reflex Photographic Society Restricted to stafi Lynam. 5/Postal.. 62. Selby Slade Lane BaptistlCamera Club Sheffield Thursday Haslam. C. Hoghton Street. Liversedge . Wigfull. Scarborough A. M. A. Lathom Road. 35.C. Camera Club 972. Ltd. 109. 6. Photographic and Astley Cheetbam Public Library . Chesterfield Gardens. . Post Office. Ladies and Youths. Glasgow H.A. Biook Street. S. Co. orton Hill- F. Richmond. Seaham Harbour.2 London Suborfaan Society Photographic Photographic The Central Library. Hawke Street. York Place. 2/5/- Miller Street. 13.. 2/6 7/6 John T. Cooper. Southport Photographic Society 9. Travis Street. W. 29. Govanhill. 5/- William fee. Address of Secretary. Monday Wednesday 2nd and 4th Thursdays and Saturdays in month Monday Society 5/Entrance 2/6 5/- Ernest \V. Road Townhead. Peckbam Road.4 C. Glasgow St. The Grove. North 38. Old Physics Lecture Room.I Rugby Photographic Society . S. Pearson. X. E.E. Sheffield Shettleston Co-op.. Somerville Alternate Juniors. Broom Grove.-. S." Famborough Road.E. King Street Tuesday Harrison Shields Burgess. Aston Road. Corporation Street Monday 2/6 7/6 Ladies and Youths. definitely fixed—occasionally at Irregular R. Field Head Society Spen Valley Literary and Scien* Museum. Ivydene. Fretwell. South South tific New 4. BuUen. usually 4/- Ernest Tinker. M. Ladies and Small Heath Photographic Society Society of Colour Photographers Council Schools. S. 2/6 William Harwood. Southendon-Sea Robert H. Heb- Camera Clab Richmond Camera Clob Rochdale Rodley The Assembly Rooms. London. 2nd Tuesday in McKechnie. H. Address of Club Room or Headquarteis. London. Brooks. near phic Society Eatrance Rochdale and Dittrict Photorra- Town Street. Femdale Road. Sheffield Sheffield Photographic Friends' School. East Ham London.4 Plough Hall. Fantborough Club Night. Rodley 217/7/6 H. Surrey Amateur ^ Pfaotogra- Wednesday Thursday 1st 6/- Charles Piatt. Ritson. Chorlton-on-Medlock. Vincent Street.. StaBe Camera Club Members of S. Shakespeare Drive. Entrance Street. Brierley. Royal Aircraft Establishment. Rodley. Wednesday Tuesday South Glasgow Camera Club . London Road.). J.6 43. F. Rotberham in 35. SbettlestoQ Road Road month Monday in .30 p. F. Glasgow Arthur E. Kerr. Glasgow 10/Ladies. Lower Villier...S. Rock Street. Stalybriage Entrance 1/- fee. 26.C.

N. Tbnaday 2nd aad 4lh Tbofiday in inow tb Maioaic HaU. Dnuiiutuud Terrace.CA. Beck. Cbuich.. 36. Lodge Road. S. Liodoa Road. North Tyaeeida Pbotocrapbic Society . Gresley "Tbe Ti^M« ** Camera Clab . Watford W. WoRaMar New 1st lit and Std 7/8 Tbonday aadiid Altanals Tbaaday* J. GoodsaU.MXJl. 67. G. Flaca. Londoo. H. Camera Clab Pbotocrapbic Road Y.7IS Monday Alternate V7/6 W. Not ftxad S. Bride* SIraM . London. Asctiagtoa Weet Bremwicb Mamcipal Socoadary Scbool Camera Clab WeetrDiaeter City Scbool Camera Weet laatltata. Sidbury. N ai Mtki -oo- Tamday Fortnightly 10/6 Jonioc*. S/- G. Sommlt Road. ^allasey WaUall Pbolerrapbic Society Teovenaco HaU Central Library. Manor Hoose Rood. par BUckbum Sunday Last in 4/6 */2/6 5/- J. 5/- Shields C. Battenea. Wood Street. War- M. Will May Friday 6/- F. WeoMdi le. Skinner. II W. Lee.. Inagttlar Road. loa. Cooipany's Coach North Road. 19 WUIlaa Gray. Wimbledon. E. Name ot Soaelj. 173. Aocrlogton. Worthing 4) 4| 13 .I8 29. litWedneaday 3>d 10/6 Tbonday Aaaodatas and Jonioc*.. London. Raddle Bam Road. Loodoa Hall. 54. 10. 56. Waaley Camera Clab Wafer Tbe Abbey Street.O. 1/6 5/- T.W. Co.W. Evler. Biof u. Wood- 2od and 3rdWednaKlay Itt.18 aad District RaveoscraM. Dorval. Tocadays 8 PJI. 2/S Herbert A. Appteloo. O'Hea. Duley Oxford Altamala lo^ 7/6 il7/6 5/»/- Camera Clab . P. Sbocncliile House. Darilocand Alt laMtati Hall. ** Murtoo.. Ugh Strmt. S. Pop*. Pendie Katd. Croas. S. Snnniilde Wolverhamptoo Taeaday Altenuta Nonoan Blakey. J. GitUna. Loodon. 88. 16. S. near Warrington Lawrence E. 3. . Ealas. DwOey Road . E.W. H. Lochside. WtU Lana Taeaday $^ Ladies and Yootba. .7 A. Pearson. and E. Stockport Rev. BocUngbam Street. 44. Taylor. Statko Road. 13. E. Aicade.T.I8 Irom OctoberApril ^ Woolwicb Pbotocrapbic Society Werceetersbire Cemera Clab aad Pbelocrepbic Sarvey Society Pnabrtariaa Cbanh Hall. EUls. Roosell. Oxford Street. Durh Weat Stanley. Sunderland SulKeription Litiaty 5^ A. Walthanislow W. Ladta^S/WallaeoT Amalear Monday near Wafceaeld R. Walthaoistow.. Studio. 27.16 D. Toeadan PHday In mootb Junion. South Reddish. 149. Field Terrace. R. Hodscn. WolrarWolverton. »/Bolraaea. laa Sdaat Weleertoa (Backs. Horbury. Taabridie Wclh Amalear Pbatafftapbic Aesocialioa Dadl«r loalilnle. at Qub RoocD or Headqnartcn. Selly Oak. "— b^rr BaUdl^^ Formtan' HaU Stmt Wadaaadays 1st and Std J. Clnb Night. Westover Road. P. 2/6 Enoch Honlall. Anooal Subaciiptioa. S. Wertbiac CaaMra Clab Uyetpool TetTBoa .O. I. T. Inagulat 3/8 Wm. Tneada* at 5/7/6 Watiord Camera dab Hl(b Straet School. 4/12/- W. Holloway. Ploches. as.I7 Rodger*. Fb^tb. N. Mount Road Peon...) pbic Society Pba l a gf a- Sdeam Weodford Pbologrepbic Sadaty Mwoftal Hi|b RMd. IS. Todowrden PhMacrapbic Society Groercaoc Road.E. 55. J< Sfclelda Tboiidayi ShieliJa Geo.W.W. Ctitchlcy. Prcabrtctiaa HaU. Countess Street. Stanley Arenoe.W. Raeca.W. Home Square. London. West Stanley St. Biintingham Emeat Miller. E. High Street. 36. Peodla Saabaan (Moarfitld) Caa«ra Lecture RwTWi^ Mooradd Works.C. Stonyhurst CoUegs. Lodft Road Scbool . StirchUv and Diatrict Club Stackpart Pbatotrapktc Ca^ra Sooatr Chib Rocou. 76. Brondesbury. 54. B. Hariesden. Victoria Road. Alteraata [ohnston. Calverley Road. S4.G. Kirk Road. J. Woroeatar. Waltbaoatow. Batting. Stainlortb Road. S. WedDasday II. FInchteld Road.. Tunbridge Wells Factory. Durham od( J. Pbotoffrajphic Society Weet Sarrey Pbotof rapbtc Saciety Wbitley District lOebaan PmU Room. 4. In laootb Tyaemoutb iBoraaib aA Pbatagrapbic Society Bamrd Slm< Nocth ZZ. Stieatbam.. Charles Wills. Crooch.. S. Croft Avenue. 34. 243.I 1 A. Gladalone Inatltnle YJI. Town P. near Strealbna Thnnday moatb Blackburn.IO F. Glentbom Road. Wbitstabia P. Loodan. 8. HiKh Wvlam Terrace. Sunderland Tbonday* . WhiUty Bay Robt. 7. Alssaadr* Road Pttetiac . J. Plunntead Road. HoUy Avenue. West Broowich Weitaiaetar Qty Monday Saturday Clab Sualey ih 10/- J. OU Academy. 5. 83. Bocks G. Evans. North R. 2/6 unlet*. LinsUll Terrace. Staaybarat PbalOffraphac Saciaty Straatbaaa Pbolacraphic Society StOBTtaunt CoUege. Wbilelabk Camera Witteedea Chb Society Tbaaday 2nd and 4tb Taeaday HarkadcB PnbUe Ubriry. Bonner. Kingsley Road. Woodford. Geen. Jackson. Lanes. Haines.. Newcastle- on-Tyne G. Tadmordea Pbotocrapbic " T. Wandsworth Common. London. 12/- Name and Addresi of Secretary. B. SwadliAcote Pbotofrapfcac Sacaaty Altenuta Last William Moore. Isaac. Goner. BUkca Tyn. Cravrn S.. M. Northfield Terrace. Percy. Pbotocrapbic Monday Tboisday Wimbledoa Camera Clab Wiabass TV Tecbsical Inatitnta. Hm. S.. Clab Sandarlaad and District Camera Clab SaadcrUad Pbolofrapbic Aa•aciatiaa Wolmkomtoa BaOmMkef*' Hall. II. Wedaeaday Not sUtad R." Saciety Tbe •. Stitchler 1430 Hi«h Street.O. WcatminaKr." Chelmsford Road. Newcastle- on*Tyne Wabefield Secivty Pb teirapbic Society Pbetofrapbic BartUoi Ubncy. L. Jackson Street. Senior*. Balnes. N. Eland Road. Creak Street 7/6 Ladies. Tba Institute. Bath Road. Newport. Battenea Rise. F.. Sarvey aad Record Socaetiae ISm StptnU UtL) Fiee Libray. 2/6 E. YoothL Fottalgbtly Porlaigblly 2/6 :er F. B. London. . Jowett Street.11 SI. . Black Wbhaw Waleerbamptofl Society Md WUla Chaabeii.. Walaall Waltbamttow aad District Pbotoirapbic Society Warriagtoa Pbotograpbic Society Tba 173. S. Road. Harley Road. H.

The Federation of Photographic Record Bristol Photographic Societies Cluh (Topographical Section) Associate members. 181.A. Stephen. H. Nelson. Photographic Union The Midland Counties Photo. Market Street. Name of Society. Kent.I.. Firth. 753. Worcester Photographic Society (Record and 5/5/- Bernard E. 5/Contributory W. Church Road. Elmo.. Lydgate Road. London. Mosely. W. Northampton E. Annual Subscription. St. Edinburgh Photographic Society (Survey Section) Photographic Survey and Record of Essex (Branch of Essex Field Club) Pictorial Record Society of Exeter Societe Jersiaise R. Tapley-Soper. Name The of Affiliation or Federation. 88. Willow Vale. City Librarian. Glasgow tion The Wales and Monmouthshire T. BradThe Yorkshire Arthur Clayton. S. Kuner. Hope Street. Inter - Club Photographic Societies Alliance The R. Name and Address of Secretary. C.W. Essex Robt. Jersey Carlton Road. F. . Ladies 7/6 Juniors and residents outside Coventry.12 H. Junr. 67. Tunbridge Wells S. H. Mitchell. Affiliation of Photographic Royal with the Photographic Society of Great Mcintosh. Fosse Road Geo. 104. Milton Road. Somerset Survsy) Cardiff Naturalists' Society (Record and Survey) W.. Norwich 3/6 10/6 J. J. 19. Photographic Survey and Record of Northamptonshire (Branch of Northants Natural History Society) Nottingham and Notts. B. 44.Lewis Lloyd. Mcseley. Mackenzie.A. 3. 67. WalUngton Robert Halstead. Highbury Road. C. 35. Union ford Photographic Record and Survey Societies.A. Taylor. Park Lane. Brighton Contributory 7/6 Lewis Lloyd..C. Church Road. Frome. Owen. Exeter E. Overleigh. Duke Street. E. Thorold Road. Name and Address of Secretary.I Address of Secretary. Croydon F. A. London. 10/7/6 10/6. Bristol Stokes. 5/-. Glam. Russell Square. Field Terrace. and Leicestershire Photographic Society (Record and Survey Section) Photographic Survey and Record of Norfolk and Norwich Leicester A. LawtOD. 153. F. Park Lane. Biimingham E. Wood. Lewis. 3. 8. Coventry Coventry Photographic Club (Record and Survey Section) W. Bath Road. Fawcett Street. Wallingtoa F.Topley. Baker. 3. Sunderland Britain The East Anglian Photographic ^- Federation The Federation of the Photographic Societies of Nor- thumberland and Durham The^ Federation^ of Photographic Record Societies The Glasgow and District Photographic Union W. 41. 2/6 Chamber of Commerce.C. Radyn.. 5/10/6 Ladies and country members. Nottingham 5/2/6 Jarvis Kenrick. Finsbury Park. Arley HUl. Ambler Road. J. F.19 The Photographic Record and Survey of Sussex Warwickshire Photographic Survey Worcestershire Photographic Survey Society Architectural Postal Frederick Harrison. Beny. Dickens. 11.L. Middlesex Record and Survey (Branch of North Middlesex Photographic Society) 15/- E. 104. Kilmains Road.4. 17. Ridge. West Bridgford. W. Milton Road. Leicester. Revidge Road. Name The of Affiliation or Federation. Kent County Photographic Record and Survey minimum 5/- H. Brunswick Street. N.James W. RadcliHe Mount. Turner. Lance. W.AfFiHations and Federations of Photographic Societies. Public Libraiy. 16. Barry Road. Blackburn Henry H. City Librarian. Granville Mansions. Chalmers. Wimbledon. FarcliSe Road.. F. Societies. 10. Topley. L. II. Name and W. Photographic Society (Record and Survey Section) Photographic Survey and Record of Surrey ^ Abington Street. A. M.W. Hford..Sc. E. Croydon Wood. 311. Beetham. F. London. J. 2. U. Guiton. Glasgow Lancashire and Cheshire 98. Barry Photographic Federation Photographic Ezra Clough. B. Birmingham graphic Federation The Scottish Photographic Federa. Edinburgh V. M. 62. 201.

Carlow J. in advance B. Bedtod. Cardifl 2. 8. S. 331. G. Warbtng. St.S. Gardner. " SL Hilda's. BriMoi b. Stafil. WInslada Road. MoK SO. Loodoo. PbatacrapUc Saciaty (Rac«r4 5/- Monbsabip Umiud to IS L. Critchley.. TUlot Barlotr.PayabU. 13. 35. Ballard. Yaldbam. Kemertoa LustMgfa. R. MItcbdl. Bennett. " AlbiM " PMtal PkaUcnphic Skm<t . 7. F. Cardigaosbin C a»ara Iriab Carraapaadaaca Clab BamMC iflea. l^ tea^ p- Ragiaabi A.5 Raaar Paatal Camara Clab Slaraaacapic Saciaty . MJL. Surrey I/- Enlnnca kt.. Saabaaa Paatal Partfalia Qab R. Headingley. H. 2/t C S.' Wf*m 2adiac Paatal Camara Clab . Tlie laaiar Pbata(ra»b«r>' Carraapoadaaca Clab 6d.: tee. L. OSca Saaiaga Baak Pbotasrapbic Saciaty s/e Caado Road. BoOeao Road. Wicklow R. S. Mary C. F. Moor View Road. Bramail Pictarial aad RaMarck CImb W. Cotlam 8. Cyril W..2 T. John's Ternce. Tba " (aa Albatrai Bnmaee Mafubw} .W. Uttoxetar Hallnrarth ^\'beeler. Ultcbell. I/B Claaeaauribira Paaial Pbatavrapkic Ba ai a lj »/• l/« M. Bristol M<mbenbip Unitad to SO 2/« AaaUar PoMal Caawa Clab AxcUtactaral Snrvay) Paatal W. 48. Warburg. Panfaridgc Cardans.P. 8.. K. Road. ih Payabla Is adyatM Mambanbip cJ^te. 78. WUknr Vale. 33.2 Zaalagi t al dab Jatpa AlUnaoo. Cartlsla Eatnaca tea.W. Soutbport Beraard J. 8. IDS. C. C. St. Redland. Bath J. Ptorae. St ICchael's Road. Leeds '5 . Scott. Bovood Road. CltiiMoU Road.W. H. Coirley Road. Merton Road. G. W. A. Bannatt. Regent Street. Oxford Charks RadcUfle. Stranohall VIcance. L. ^ Waverley Road.. Oakdeot. Co. Frooe. I c< Soditjr. Postal Na Camera Clubs.. 43. N.. !/• »/- SbrapaUra Paatal Caaara Clab V 2/i EdHor. lOOa. Watbere "St. Hampstead." Waverley Road.^ 1 B. Lampeter. Sutton.. Arkkm. Woodseats. Lewca G. Hanwell. fbe Peaks... S/6 Hits D. V. R.. Bristol Carraipoedaaca Clab Patrick J. Radtera. Chaflay. Rigby.R. South/ields. Amesbory Road. l/» Temoe. John T. Belfast W. Sheffield 34. 4S. Mkhaelt Paik. Dyaock. Hading.. 8. (Secretary)." Egmoot Road.W. 8. Name and Address ol Secretary. A. Saodgate Road. UiUfield. Roath. Bognor. S. Dr. PlckerwUI-Cunliae. Bradford Mtabanliin Uoilad to it Saaaraat Paatal Pbalacrapbic Sacaly 5/- Banard McabmiUp Saa aad Talbat J. Bagenabtown. Saamiet Artaay Pattal Pholoarapkic Bribik Paatal Casaara Clab Qab 2i- Tbe Rev. Co. Devon Lanletn tlkle aactioa.2 Uailad Slaraaacapic Saciaty (Paaial dab) SaHaaea Waalay Caatd Paa aad Camara Paatal Clab Vtea^ A. 8. Paaial Pictarial Pbatacraphy Clab Paatal Pbalacrapbic Clab lb*. London.. 11. M. . London. II. MaaioBS. St. Baiataridge. Ingram. Foccbcslat Toraoe. Oak Laaa. Mannhighsm. JMlaaonk.. Hoghton Street. Herts. SkaCottage. RedUnd. Victoria Street. Doran. Ealing.. Loodoo. S/!/• E. Chwch Stretton Albam Clab Mooat Pleasant. CrildOey. Watioid. Inali. Micklewood. WiUow Yak. London. Siaaez "Scribblar. I $/. Sonenet C: llnlud Paatal Clab J/* loM Martki J. Uolted lo SO CaaMra Clab Pka<a(xa»W« Mka Agna W. Cambridge London. Paaul Caatra Clab Paal J. Aoaoal Sutacti|>tiaa.) John M. Lantdoo-Davies. P.7 EnUaaca Caaakriaa PottaJ Camara Clab tee. anoaglat-Davtea. Eglantine Avenue.. Folkestooe BcrtiaiB Cox. Hilda's. W. Lowiy BansKcD. London. T. Somerset. Sloo HUl.I E. Photographie Editor J. Boomemouth Eatnaca Pbatacrapbic Circla Qaartarlif Pbalacrapbic Paftfalia V J^ tea. C. A. VS/C mm K. J. W. Johnon. " AUogei. 58. Grove Avenue.I8 Laatera Slida Eacbaata Clab Nalara Pb«la«rapbac Saciaty Natara Suraoacapac Clab Paraaaaraaca Paaial Caaaara Clab Bichaid Pcane. Brixton HiU. Chard. Loodoo. SheOeU 3/a W.

and that by a little more concerted effort and study. Hendrick. Hamilton and Travers Sweatman.PICTORIAL PHOTOGRAPHY IN CANADA. and from which the greatest amount of pictorial work emanates. Of the many . The progress we have made has been largely of individual influenced to some extent by our neighbours in the United States. Grant. GOSS (Toronto). Chas. Aylett. that photographers must progress. of Toronto. A. do excellent portraits in their daily work. Kelly. of the Toronto Camera Club. of Winnipeg. also of the Toronto Camera Club. and this year with an exhibition of etchings. we will be able to emulate what a group of photographers in California are doing to immortalize their particular advantage of training. and even at the time of writing. Collins. effort. we will produce something worth while and characteristic of our climate and our country. J. held at Toronto. Any review of the progress of art in Canada would be incomplete if it did not make mention of the part played by Sidney Carter. By A. the Toronto Camera Club being the nearest approach to an organization of this kind. i6 . of Toronto. it is difficult for photographers to get together. Montreal W. . G. J. Gordon K. An International Exhibition of photography was arranged last year and this year in conjunction with the Canadian National Exhibition. and Chas. Mitchell. Last year a building was shared with the Canadian painters. who continues to produce the most original conceptions with the very finest photographic technique. and progress is naturally slower than in the Mother country. and Ashley and Crippen. Blackburn. and L. separated from other countries by the barriers of customs and regulations. Alf. J. Kellett. including Ernest Hock. of Montreal. A. N a territory so vast and sparsely populated as Canada. Russ M. O. Hammond. Miller. Bridgen. Begg. M. such as W. Ottawa . Coles and A. It is to be regretted that through illness C. Geddes. Progress has been maintained during the last two years by a few of the old guard. It is a lamentable fact that we have no association in Canada for the promotion of purely pictorial photography. Admission to this building was free to the public. and stimulated by younger men. have not been active for two years. and it is estimated that half-a-million people viewed the show each year. R. and the application of technique as used by the painter. supplies are often quite indifferent in quality. Mention should also be made of R. We have been greatly handicapped in the past five years by the lack of good photographic material. L. particularly in the case of printing papers. professionals. J. Addison Reid. I believe it will be along the lines adopted by a group of Canadian painters to paint our scenery in a Canadian way. Many others who have contributed to our Exhibitions are Arthur E.

but unfortunately these are few. and Australians will confess with unconcealed pride that their hearts have been won by the Prince in no small way. Ltd. everything depends upon encouragement and so the good work will go on. Regarding the outlook on Australian Pictorial photography during the past year one must be decidedly optimistic to be pessimistic with the movement still so young in these lands would be fatal. Apart from a liberal list of awards in the shape of medals.PICTORIAL PHOTOGRAPHY IN AUSTRALIA By HAROLD CAZNEAUX [HILST these ^Sydney). "Optimism'' dominates the future of the movement here in Australia. some of the results will be seen in Pictorial Essay. farewelled with Australian sunshine glinting on turret and gun. certificates. has left Sydney Heads on her way back to what the Australian soldier termed " Blighty ". but not the remembrance of the happy frank smile of the Prince. The Adelaide Chamber of Manufactures devoted a section of their " Peace Exhibition " to pictorial photography and other branches of the photographic arts and crafts. Of exhibitions I regret to announce that none of any distinction have been held during the past year. .. and a substantial money award list supplemented by Kodak. "The Empire". etc. The entry of the mighty "Renown" into the different ports of this Commonwealth has provided many excellent opportunities for the pictorial worker with the camera and no doubt. lines were being penned for " Photograms of the the" battle cruiser " Renown ". R. later on. with an exception here and there.has ended. Thousands of cameras have been busy during the Tour of the Prince. The tour of the Year" Australian States . with H. H. After all. The Prince of Wales on board. no distinct note can be made of the exhibited work.. but a combined show of the best pictorial work has not yet seen the light. nor the " something " that has tightened the subtle bond that has ever bound us with the Mother country. the work hcs not gone backwards and what better can be said. and photography has rewarded us with a veritable harvest of snaps of the events (hat have happened and in which the Prince has been the centre of interest. All the workers noted in my article of last year are still working and advancing. New workers are coming on. There have been " One-man Shows " from time to time by members of photographic societies throughout the States. The Tour has ended. The Sydney Camera Pictorial Circle is making an in effort to arrange an exhibition of work on a high standard the near future. and >7 .

i8 . Brilliant hard clear atmosphere conditions ofttimes discourage the worker the soft focus lens has not yet solved the problem of dealing with these conditions. Therein lies some compensation for the long intervals for something of pictorial note here in this vast Commonwealth. They have the honour. In this way almost each State would have the pleasure of having an annual exhibition of pictorial photography. quite apart from his conception of photography as associated with bromide prints with a highly polished surface. Of the workers out in the back blocks hundreds of miles away from city centres one can but bestow praise for their plugging determination to keep their work going. Evidently there are some broad-minded trustees in this state. The printing medium. fearless enough to reach out and proclaim Photography as one of the Arts. The pictorial Australian public worker . sunny days. and in many exists the latent spark that may yet awaken the desire to understand and participate in the pictorial movement. quite a lot of use and abuse for pictorial effort.which. despite the little help that hardly ever comes their way. Some day. In the meanwhile. May others follow. His appreciation is becoming keener and more is In conclusion I must add to my notes the problem we still find in dealing with our sunshine conditions. all Australian workers look keenly forward to the results of the Australian work sent to the "London Salon" and " Photograms of the Year". with a few exceptions. but in the bustle of modern business extension trees are not often spared even to stand in a little corner where their beauty may preach a simple lesson in contentment. Typical Australian landscapes and typical life in the "great open" are hard for the majority of workers to obtain a long trip "out back" brings one face to face with the real thing. deny us not the dreams. gradually becoming interested in the doings of the shows here and there in the different States always the street ". best workers of the Commonwealth. I believe. combined with careful work on the glass side of the negative to overcome the depth and clearjiess of distant tones in our landscapes on typically Australian . Australians are keen amateur photographers. Our best workers are separated ofttimes by hundreds of miles and no doubt the necessary organization to combine and hold exhibitions is difficult. so to speak. One must be thankful. but opportunities for these trips do not occur often for the city man. No doubt in time a scheme may be formulated to hold an exhibition once a year. of having their best workers' efforts in Pictorial photography hung in the State Art Gallery in Perth. comes in for . that gum saplings can grow close to city boundaries. was far from representative of the The West Australian Photographic Society. isolated interest the " man in distinct. the chief States arranging the exhibitions in turns and the show to go on tour throughout the societies of the different states. to my mind. so the gum sapling in one's own back yard. shows marked advancement. however. unfortunately. formed only a few years ago. is still the nearest solution. we may enjoy the blessings of an annual publication of Australian pictorial work and wherein we may welome friends to whom we now send our best works for the passing year.

On the other hand. One need not. But. and present activity gravitates towards utilitarian rather than artistic ends. that pictorial photography owes a great debt. therefore. Bergon. to copy. pictorial photography in France is rather sleeping than abandoned. when we consider it. Laguarde. but as a means of rendering an expression of art. ought to initiate the debutants by showing them more frequently that photography ought to be a source of sesthetic joys. they will quickly learn In this train of thought. leisure. artistic As «9 . like those in " Photograms of the Year" and "The Amateur Photographer" will teach more than the most learned formulsc. and to continually increase in number. such as' Demachy. some of them even with talent. (hen we leaders that their pictorial work look back on the past we cannot help regretting that the before the war. Most of the amateurs are endowed with taste. FRANCE PASCAUD (Paris). however it may be. not as a process of copying. to their powers of interpretation and fine productions. work desperately hard to repair the ruins. it is to their undoubted talents. and many others.PICTORIAL PHOTOGRAPHY IN By G. method. Le B&gue. Without any doubt at all. Nevertheless. and there is no doubt will always have the power of inspiring future generations ot in photographers France. have not been emulated in greater numbers. but very few amongst them appear to take the trouble to produce portraits or landscapes in a sufhciently aesthetic sense. disgusted with the inferior productions of the "pressing the button" brigade. the beautiful illustrations. There is always wanting artistic inspiration. is not the dlite of the amateurs just a little responsible for the actual atrophy ? Those who have taste. if not to equal them. Why should there be this lack of pictorial photography in France ? Is not the cause to be found in ignorance of the results which it is possible to achieve with It must be conceded that the facility of photography in general has to some it ? extent discredited it in the eyes of many artists. In making an appeal to the fins pictorial works of their foreign confreres. so that they may play the important part which has devolved upon them. many of our real amateurs work with taste and with method. The war has caused so much trouble that the Our own generation has to best willed have disappeared or have been eclipsed. for the Photographic Societies -marvellous centres ot propaganda and emulation— we must wish to see them revived as soon as possible. despair. Puyo. and by placing them frequently before their eyes. An energetic stimulant could soon cause it to be re-born.

but. — The reader may see little in this article which is descriptive of either the past or the future of pictorialism in the U.S. Yet. of course. PORTERFIELD (Buffalo U. though not at the same speed as in former years. on the contrary. offering the advantages of the latter. but the thing can be overdone. 20' . but the foregoing is offered in all sincerity. It is just such things which make it impossible to send a more favourable report of American photography to " Photograms of the Year. and the institutions which were built up in better days maintained. Pictorial photographers might study up a bit along these lines.. in prices of everything photographic.S. and the majority oi devotees are not of the wealthy class. have not materialised." Pictorialists are still working. It is a fact that a certain amount of opposition stimulates aggressiveness.) optimistic hopes which prevailed during the war. is the growing tendency of all clubs to exact an entry fee from exhibitors. to the end that the art may be safely conducted and preserved through perilous times. though stock dealers report greater business than ever. It was reasonable to expect that. H." To this I beg to differ. Consequently there has been a decline in the interest of those who make pictures. while the stock dealers sales run higher. To one who is in touch with the prominent workers those ardent spirits who constitute the bone and sinew of all our shows there is no doubt of the condition of dissatisfaction which exists and which confronts the future of pictorial photography in America.A. if that be true. and use it for the benefit of the exhibitors. For instance. — Pictorial photography is notoriously non-self-supporting. and this condition will probably affect the two Salons which are due to open shortly in this country. and which promised much for pictorial photography in America as soon as hostilities ceased. has the visiting public no responsibility in the matter ? Have they not a right to assist in the liquidation of the costs of the shows to which they come to be entertained and educated? Someone remarks that "No one will pay to see an exhibition of photographs.— PHOTOGRAPHY HE IN AMERICA By W. its Another piece of petty profiteering. and. costs have continued to mount. without. Admitting. then why hold the show ? Country fairs charge an admission fee. however. and is intended to sound a danger signal to Exhibition promoters in the United States. it is not on account of increased activity in photography especially the pictorial branch of it— but is traceable entirely to the rise of from fifty to three hundred per cent. thus obliging the producer of pictures to pay at both ends — very much on the same order that prevails at country fairs. as a consequence. that there are unavoidable expenses connected with every show that must be paid. war prices would vanish and something like old-time conditions would appear. once peace was restored. which is destined to have a baleful effect on future exhibitions in America. surely some of the business executives can devise a better method of raising funds than by levying this unfair tax on the exhibitor.

Luboshez. an excellent example of the case in hand was afforded to the visitor who took the trouble to examine the two non-pictorial sections which. O. for which John Hertzberg was responsible. the competition among the " bread winners. Later. WRITER Photograms of the Year 1919 " expressed the opinion that Scandinavia formed part of a world in which apart from Great Britain— " most liveliness in photographic progress" could be — recorded. Pictorialists who share this opinion will find that the year 1920 does not compare unfavourably with its immediate predecessors. do not concern us here." But vital concentration. To begin with. Norway and Denmark was held in the halls of the Royal Swedish Academy of Pine Arts. the " First Scandinavian Photographic Exhibition" as it called itself. the Stockholm Club " Potograliska Poreningen " arranged an Inter. the publication ot an edition de luxe describing and illustrating by photographs the finest woodland scenery in Northern Europe— to which life-work Mr. in the outwardly greatest photographic exhibition the public oi Scandinavia proper has ever been shown. is still only to be witnessed in the work of the exceptions— still few and far between. from London. A historical section in the hands ot Ferdinand Flodin with a much admired collection of D. In this exhibition the majority OJ exhibits in the " artistic " section ought never to have been brought before the evidently bewildered jury of experts.Scandinavian Exhibition at the beginning of the year.PICTORIAL PHOTOGRAPHY IN SWEDEN AND NORWAY. Sigvart Werner's national work " Dyrehaven " appeared in our book-market in the spring. E. These shows were by the serious critic considered as anti-climaxes. with them. GOODWIN (Stockholm). Ideally speaking. By HENRY in " B. To draw 21 . are worthy of every praise. Werner devoted himself heart and soul— or the visit of an authority like Luboshez. unselfishness of research and devotion such as we see in the majority of men of science or of artists in all branches but photography. in the autumn. and. The number of workers and their productions have enormously increased. and a scientific section. About the same time we can record a second visit to these parts and a prolonged stay in Stockholm of N. simultaneously with the great Jubilee Exhibition of the Danish amateurs the still larger Jubilee Exhibition of the professional unions of Sweden. Apart from individual production of pictorial work. intensity of purpose. are to us events of far greater importance than shows of however great material extent and however great appeal to the public. Hill's work and some fine old dagucrrotypcs. compared with similar efforts at the outset of our pictorial movement about 1914. properly speaking. The latter contained a collection of photomctrical and other technical instruments and proofs of research work done at the photographic departments of the university colleges of the three countries.

Photography has perhaps not much to say for itself in matters of relation between countries. was of high perfection. the intensity of zeal cannot be overlooked which such workers as " papa " Flodin of Stockholm or Ernest Rude of Christiania always show wherever they "are of the party." the annual shows in London and the workers in common whose names are household words with every pictorialist in these parts vide the series " Colleagues all the world over "in our own journal: — "Nordisk Tidskrift tor Fotografi. especially fuzzy. the Swedish amateurs' space and chances reduced to mere sufferance. let it be distinctly understood by the big brother on the playing ground. His portrait of the art-dealer." "Photograms." "The Bandit. that English pictorialism is a very strong and very strongly perceptible link between us. for the present stuck fast in a soft-focus and coarse gum-printing groove. had the most convincing shows.. of Stavanger. Sorbon's almost miniature portraits of which little had been seen before. in such a report can be said of a vitally important period of development like the period of Luboshez's visit in the winter. Jacobsen. if all ties should fail us to bring |our efforts into harmony we should always have the "A. president of a professional union which one could envy Norway." — ! : 22 . But we must point out the importance of his arrival with fresh impressions directly from London. Waldemar Hide. Mr. beside which most of his figure studies." "The Walrus. Too little. & P." Of somewhat greater value was the very thorough-going analysis with a very good choice of illustrations in " Nordisk Tidskrift for Fotografi" with which Ture Sellman treated the exhibits at the Spring Exhibition. with serious and tender attempts at a very manly art of portraiture. provided " exaggerations are avoided. and Rude. unfortunately. but nobody will draw them who is informed that the Danish amateurs' were not invited. P. addressing the public rather than the spectator who is looking for ideal progress. link of importance. Mr. And it It is an Inter-Scandinavian is more than a link between Britain and Scandinavia. we must add a line on the liveliness of critics. But to the full extent it can have as a branch of civilisation." To conclude. analogously. English is usually resorted to. painting-like effects. and. unless it were the same author's analysis in a lantern lecture to the professional union to which he subjected the illustrations of a former volume of "Photograms of the Year. Though essentially directed outward. If our people fail to understand the spoken language of another Scandinavian." Flodin with his versatility. beside the supercritic's voice who wishes us to abolish all writing on photographic topics except scientific ones. with a minuteness of classification and appreciation that has no analogy in photographic literature. and that the whole undertaking was the worse for the opposition of several of the leading pictorialists who took no practical interest in the performance. and who advises us bluntly to drop pictorialism and try and take up photography The opposite was what a Swedish art critic did in his address to the Jubilee Congress of Professionals he found that nowadays photography was justified in calling itself an art. to associate with a more or less Anglo-Scandinavian congregation of colleagues.conclusions from what was shown would be doing the Scandinavian countries an injustice. In both the Stockholm exhibitions referred to. seem mere toys. were the most futurepiercing and interesting prints in the Swedish section. so attractive in magazines or exhibitions of pictorial photography. too.

PICTORIAL PHOTOGRAPHY
IN
T
seems

HOLLAND
(Amsterdam),

By ADRIAAN BOER
many

that new life is coming in our photographic circles after years of slackness. The war had a rather bad effect on pictorial photography, and the new£ from Holland regarding camera work was not very bright, but we arc now able to write something

more

cheerful.

Photography as a hobby is increasing considerably. The changed circumstances of life have enabled many to take up this artistic pastime to The trade express their sense of beauty, who hitherto could not afford to do so. is doing very well, and besides the established firms who are flourishing, several new concerns have been started.
of the number of amateurs does not mean a big increase of the photographers yet, but it may lead to it in the future, and if only one in every thousand becomes a pictorial photographer we shall have a great period of fruitfulness in pictorial photography.

The growth
artistic

more

The home-exhibition has been a great success. The salon of the Nederlandsche Amateur Fotografen Vereeniging (Dutch Amateur Photographic Society), held this year in the Stedelijk Museum at Amsterdam, was an undeniable success. The number of exhibits was great and the quality good, but not quite up to the standard

when the Nederlandsche Club voor Fotokunst (The Dutch Club for Photography), through its serious work, marked an epoch in Dutch pictorial photography. The result of the difficult times during the war has been that the club was dissolved and the greater part of its members joined the Nederlandsche Amateur Fotografen Vereeniging, which, although not a very specialising society, does whatever it can do to promote pictorial photography.
of ten years ago
Pictorial

professionals have established a society for professional and trade This, in the first place, deals with the economical aspect, but studies as well the more ideal interests of its members. One of the principal items in the programme is the foundation of a school of photography. The Government has already shown great interest, and it is very likely that the training of our professionals, which up to now has been utterly neglected, will, within the course of a short time, be greatly improved.
interests.

The Dutch

Another star in the photographic sky is that the Volksuniversiteit (University Extension) has put the subject of photography on its programme, and it is enjoying a great amount of interest on the part of the professionals as well as amateurs.
All these factors give us hope that, after the very slack years which we have had, we soon will come to a new and flourishing period in which Holland will again be able to take the place in culture and art which it has taken through all the ages.

23

PICTORIAL PHOTOGRAPHY
IN
By

DENMARK.
(Copenhagen).

HANS WAAGO

^NLY

a few years ago Denmark possessed a number of energetic and enthusiastic Amateur Photographers, but of these many of the best workers have retired Carl Frederiksen on account of failing health, Th. G. Sorensen, the brothers Duckert, P. Lundsteen and Th. Giessing for other reasons.

The war brought with it an isolation always fatal to the thriving impulse in a small community, and, at the same time, the technical development, especially with regard to the oil and bromoil processes, raised claims of individual self-expression and artistic purpose, claims which only very few of our modern workers have succeeding in realising.
Freedom
the
in

craftsmanship within the limits of photography

is

always dangerous to

young worker, who, though able to produce good photographs, fails to realise or understand the problem which lies beyond the mere print-making. He is, in consequence, likely to resort to imitation, which is fatal to an original pictorial outlook. This was fully borne out with the exhibition of Kobenhavn's Fotografiske Amatorklub this year, when celebrating its 25 years anniversary. The exhibition was extensive, and also representative, because of the many fine pictures sent to Copenhagen from England, America and Holland.
exhibitors, taken as a class, clearly demonstrated how wrong it is to There were it as a means to attain a pictorial end. too many pictures which might be designated as bromoil misunderstood when produced by workers who failed to see the proper place of the technical side in relation to the pictorial. On the other hand, some of the exhibitors were exceptions such as Mr. Sigvart Werner, who, during the last few years has improved considerably and rapidly, and who, this year, has produced some of the results of his work, firstly, by the publication of " Dyrehaven," a photographic memorial of the Danish National Park, and, secondly, by an individual exhibition of a very high standard.

The Danish

aim

at a process instead of utilising

The exhibition as a whole was a reflection of the abilities of the Danish workers at the present time, and, if the results did not reach a high standard, I regret to say the same is certainly the case with the productions of most of our photographic clubs.
and people interested in, pictorial pRotography in Kobenhavn's Fotografiske Amatorklub," under the presidency of Mr. C. J. Brodersen, and further, to the enthusiastic and indefatigable President of the Club's Exhibition Committee, Mr. Wm. Truelsen, for the gathering of photographic work from other countries that will highly stimulate and give rise to new life and interest on this side.
Therefore, cultivators
of,

Denmark owe much thanks

to "

At the expiration of the year 1919, Mr. Herman Bente had to deplore the extinction of his periodical, " Amator Fotografen," largely on account of scarcity of paper, but now, at the end of 1920, new relations are opened up with foreign clubs. Simultaneously the professional photographers, who have not formerly exhibited,
24

of Mr. Jul. Folkman— participated in the first Scandinavian Exhibition in Stockholm. It is thus to be hoped that they will soon be found actively joining in the work for pictorial photography in Denmark. As a fact, we see the interest stirred up to new life, and think we are justified in believing that, even if deficient at present, we shall gradually attain a sound and progressive view of pictorial photography and its aims.

have— aroused through the energy

Impulses in this respect are especially expected through co-operation with English and other colleagues. Danish taste, sentiment and cravings for communication with foreigners will always instinctively turn towards the West, towards the people and their cultures with which Danish character and dispositions find so many mutual interests.

PICTORIAL PHOTOGRAPHY IN SPAIN.
By
J.

ORTIZ ECHAGUE

(Madrid).

HE

m^m

year 1919-1920 has been one of somewhat more activity than predecessors so far as work in the art of photography goes. Three most important exhibitions have been held by Vilatova, in by Prats, in the Souiedad Photothe Circuls de Belles Artes graphica and the Mountain Photography Exhibition, the fifth of its kind which the Souiedad Pefialara holds annually.
its

;

;

The Exhibition by the Pefialara, held in the little Salon of the Athenaeum, although containing fewer exhibits than in former years, was of greater interest not only because of the finer quality of the works shown, but also because, in view of the limitation in subjects, one cannot be very prodigal in the number of works exhibited. Tinoco, Victory, Andrada, Candela, Conde de la Ventosa, Castellanos, Gonraler, Loxano, and others give a clear representation of the pictorial beauties of our sierras, and it is evident that photography as well handled as they do it, is the most eloquent medium for picture-making. Several of these workers are represented in " Photograms."

We
be

cannot resist the temptation to refer to "El Campesino, " by Savignac.
print
is a model of execution, as a transthe technique of Savignac a skill that it will

Somewhat academic, this photographic ferred oil print. One must recognise in
difficult to

surpass.

Another photographic artist little known tO, tli« readers of "Photograms" is Carlos Inigo, of whom nothing has been reproduced since the year 1907. This year we may admire the interesting contribution that stands out so much by reason ot its originality and by its sympathetic technique. Its author, devoted to both painting and photography, knows how to combine these two arts, and give to his works an inevitable charm. The " Corrida de Toros," by Cervera, is a remarkably striking photograph in its composition, lights and movement. These few prints are from the collection of Spanish pictorial work I was fortunate enough to get together at the request of Mr. Mortimer for the London Salon of Photography.
*5

" Cazneaux lives . not in London. not far below high-water mark. Bostock and W. out of her abundance of national pride and grateful hero-worship. way Blow A . where . C. on the whole. C. and the print secures an excellently designed group in Nature's own spontaneous way." may take it as an ideal. Here every figure tells a story. scene like H. These are "Making Ready" and "Trimming the Jib" (Plates LXII and XXVI). it is. at least. Only by this study and mature In photography the only safe catch it on the hop as Mr. In fact. dreamy way that appeals to the ploughman. have been a little more liberal in exposure. They both show the ubiquitousness and dare-devilry of the genus snap-shotter. I am given to understand that the war areas have an appearance as though a hundred thousand old iron and rag shops had been emptied and their contents evenly sprinkled and partly dug in. who made the picture. by Cecil W. Nineteen-twenty has been a record year for output. What I don't like so much is the clean. A. having scattered the composition. We. Milson might.Torrance's "Pittsburgh " (Plate XLV) can be studied as often and as long as one likes it doesn't come once and go for ever. ! It is only a degree less bad.congratulation. C. B. or as a conventional agreement of what our ideal should be : an attitude of chastened recollection tempered With a touch of self. than the War. and if it is not a record for quality. As a matter of fact. there is not much risk in saying that pictures by photography were never before so fine nor so numerous. The Peace is " too much with us. G. Even the smoke I like the perfect realization of memories in the frontispiece. are certainly glad that the war is over. here. who is prepared to stalk his prey to the further side of the danger-zone. The only domain of human activity which does not seem damped down by post-war conditions is pictorial photography. from the fire seems stopping to think. I cannot speak for Sydney. he has placed in the honorable position of frontispiece a picture entitled " Peace after War and Memories. of getting the genuine literary motive is to did in his " Open Air Life in Italy" (Plate XLVI). we might then have seen more of the sunny joys of this great day in a great picture. T. in which Nature has not been so kind. TILNEY ITH that nice sense of the fitness of things of which the Editor of this annual has so often given evidence. . this ruminative creditable attitude is not the — We general rule — at least. Thomas's "Idle Moments" (Plate LXIII). When photographing the " Return of the Australian Light Horse" (Plate XXVIII) Mrs. workable condition of the battlefield which has yielded the souvenir. Mr.SOME PICTURES OF THE YEAR Critical Notes by F. Cazneaux is prophesying. As a contrast to idleness there are two nautical subjects which show the "giddy limit" of action. Artists will enjoy the etching-like quality of all the darks in this capital little work. . when one considers the unusually good show that the Royal Photographic Society managed to put up in support of the usually good one of the London Salon. Sawyer respectively. Another picture of open air life is W. But perhaps Mr. but we do not quite find occasion to regard it in this quiet. 28 .

consideration does the picture-maker work himseli up to the pitch oi enthusiastic determination and become able to choose the best aspect and the most effective conditions. The world is at last, and slowly yet, waking up to the beauty that may be found in certain combinations of things ugly in themselves the combinations being, in almost all cases, dependent upon some natural effect for its beauty.
;

If we avoid Nature and confine ourselves strictly to the phenomena of man's industry under the bald kind of lighting I have alluded to, we get precisely Ward Muir's idyl of " London " (Plate XXXVIII), a great haul of " beautiful facts." Harry Storm's tongue was in his cheek I hope when his " Beautiful Fact " (Plate LXI) was in the making but whether it was or was not, I, personally, welcome this print as the last word in a rather silly controversy. My argument is that the hideous bridge should never have had the camera pointed at it but the bank, the building, the water, and above all the light that holds them all together in an atmosphere of beauty is the kind of fact that makes fine pictures.
; ;

A

Dreaming Night
object, but less

similar theme, but " (Plate

a far less drastic application of the principle,

is

"

The

XXVII). Here, again, is the silhouetted foreground ugly and uncompromising in its lines because they are not engineer-

ing lines, but lines of growth. In many respects this is a lovely picture, but the merciless flatness of the tree and the ground is a kind of outreaching for a ''decorative" touch; and that is an alien element in landscape at its finest. All good design is decorative, we know, but there is a kind of so-called *' decorative," which only admits the lines and masses that shock. When they are projected into such a highly poetical mood as this picture aims at, they are sometimes more hindrance than help. The author of this picture Francis O. Libby has used his

medium, apparently gum-bichromate,
is

to

good

effect.

The foreground object in G. E. Jones's "An Old Water Mill " (Plate LVIII) same nature as that in Mr. Storm's " Beautiful Fact " (Plate LXI), but it is saved and made interesting by the natural conditions of lighting— it is not allowed to tell as so much nugatory matter from which no light has affected the plate.
of the

any rate found a foreground object that is in the picture, not " This gives him at least two planes. " On the Edge and Beyond (Plate XLIV) shows only one, for there is nothing at all beyond but clouds. This must be accounted a weakness in an otherwise good selection. But I know the feeling Mr. Wilkinson had in seeing this. It is very impressive as a mood, but it '« won't come " even in painted pictures. One must have a glimpse of a beyond.
at

Mr. Jones has
in front of
it.

In Fred Judge's artistic little print, "The Return of the Flock " (Plate LV), we have a particularly fine sky-line backed by distant hills, which supply a middle plane. Fine as is the light and shade of this capital composition, it would lose It is, indeed, half its charm without the distant plane skSor^ed by these hills. scarcely possible to have too many planes a fact that seems to have occurred to several workers this year, who have availed themselves of mist and light to break up their material into as many planes as possible. "The Boundary Rider" (Plate LXIII) is a notable example of this by C. E. Wakeford. Another is S. Bridgen's very impressive " Nature's Cathedral" (Plate LI) which shows the beams of the sun entering as one sees them in an interior where columns and aisles mark off areas of light and shade. " Burning Leaves, Kensington Gardens " (Plate LII), by Charles Job, likewise owes its fascination to the emphasising of aerial perspective by
:

zg

SOME PICTURES OF THE YEAR
Critical

Notes by F. C.

TILNEY

ITH

that nice sense of the fitness of things of which the Editor of this annual has so often given evidence, he has placed in the honorable position of frontispiece a picture entitled " Peace after War and Memories." may take it as an ideal, or as a conan attitude of ventional agreement of what our ideal should be chastened recollection tempered With a touch of self-congratulation. As a matter of fact, this ruminative creditable attitude is not the

We

:

general rule

— at

least,

not

in

London.

I

cannot speak for Sydney, where Mr.
. .

who made the picture. We, here, are certainly glad that the war is over; but we do not quite find occasion to regard it in this quiet, dreamy way that appeals to the ploughman. The Peace is " too much with us."
Cazneaux
lives
.
,
!

It is

only a degree less bad, on the whole, than the War,

The only domain of human activity which does not seem damped down by post-war conditions is pictorial photography. Nineteen-twenty has been a record year for output, and if it is not a record for quality, it is, at least, not far below high-water mark. In fact, when one considers the unusually good show that the Royal Photographic Society managed to put up in support of the usually good one of the London Salon, there is not much risk in saying that pictures by photography were never before so fine nor so numerous.
Even the smoke I like the perfect realization of memories in the frontispiece. from the fire seems stopping to think. What I don't like so much is the clean, workable condition of the battlefield which has yielded the souvenir. I am given to understand that the war areas have an appearance as though a hundred thousand old iron and rag shops had been emptied and their contents evenly sprinkled and partly dug in. But perhaps Mr. Cazneaux is prophesying.
of getting the genuine literary motive is to did in his " Open Air Life in Italy" (Plate XLVI). Here every figure tells a story, and the print secures an excellently designed group in Nature's own spontaneous way. Artists will enjoy the etching-like quality of all the darks in this capital little work. Another picture of open air life is W. Thomas's "Idle Moments" (Plate LXIII), in which Nature has net been so kind, having scattered the composition. As a contrast to idleness there are two nautical subjects which show the "giddy limit" of action. These are "Making Ready" and "Trimming the Jib" (Plates LXII and XXVI), by Cecil W. Bostock and W. C. Sawyer respectively. They both show the ubiquitousness and dare-devilry of the genus snap-shotter, who is prepared to stalk his prey to the further side of the danger-zone. When photographing the " Return of the Australian Light Horse " (Plate XXVIII) Mrs. A. G. Milson might, out of her abundance of national pride and grateful hero-worship, have been a little more liberal in exposure, we might then have seen more of the sunny joys of this great day in a great picture. A scene like H. C.Torrance's " Pittsburgh " (Plate XLV) can be studied as often and as long as one likes ; it doesn't come once and go for ever. Only by this study and mature

In photography the only safe catch it on the hop as Mr. T. B.

way

Blow

28

consideration does the picture -maker work himseh up to the pitch oi enthusiastic determination and become able to choose the best aspect and the most effective conditions. The world is at last, and slowly yet, waking up to the beauty that may be found in certain combinations of things ugly in themselves the combinations being, in almost all cases, dependent upon some natural effect for its beauty.
;

If we avoid Nature and confine ourselves strictly to the phenomena of man's industry under the bald kind of lighting I have alluded to, we get precisely Ward Muir's idyl of "London" (Plate XXXVIII), a great haul of "beautiful facts." Harry Storm's tongue was in his cheek I hope when his " Beautiful Fact '' (Plate LXI) was in the making but whether it was or was not, I, personally, welcome this print as the last word in a rather silly controversy. My argument is that the hideous bridge should never have had the camera pointed at it but the bank, the building, the water, and above all the light that holds them all together in an atmosphere of beauty is the kind of fact that makes fine pictures.
; ;

A

Dreaming Night"
object, but less

similar theme, but (Plate

a

far less drastic application of the principle, is "

The

XXVII). Here, again, is the silhouetted foreground ugly and uncompromising in its lines because they are not engineer-

ing lines, but lines of growth. In many respects this is a lovely picture, but the merciless flatness of the tree and the ground is a kind of outreaching for a "decorative" touch; and that is an alien element in landscape at its finest. All good design is decorative, we know, but there is a kind of so-called " decorative," which only admits the lines and masses that shock. When they are projected into such a highly poetical mood as this picture aims at, they are sometimes more hindrance than help. The author of this picture Francis O. Libby has used his

medium, apparently gum-bichromate,
is

to

good

effect.

The foreground object in G. E. Jones's "An Old Water Mill " (Plate LVIII) same nature as that in Mr. Storm's " Beautiful Fact " (Plate LXI), but it is saved and made interesting by the natural conditions of lighting — it is not allowed to tell as so much nugatory matter from which no light has affected the plate.
of the

any rate found a foreground object that is in the picture, not " This gives him at least two planes. " On the Edge and Beyond (Plate XLIV) shows only one, for there is nothing at all beyond but clouds. This must be accounted a weakness in an otherwise good selection. But I know the feeling Mr. Wilkinson had in seeing this. It is very impressive as a mood, but it " won't come " even in painted pictures. One must have a glimpse of a beyond.
at

Mr. Jones has
in front of
it.

In Fred Judge's artistic little print, " The Return of the Flock " (Plate LV), wc have a particularly fine sky-line backed by distant hills, which supply a middle plane. Fine as is the light and shade of this capital composition, it would lose It is, indeed, half its charm without the distant plane aSordcd by these hills. scarcely possible to have too many planes a fact that seems to have occurred to several workers this year, who have availed themselves of mist and light to break up their material into as many planes as possible. "The Boundary Rider" (Plate LXIII) is a notable example of this by C. E. Wakeford. Another is S. Bridgen's very impressive " Nature's Cathedral" (Plate LI) which shows the beams of the sun entering as one sees them in an interior where columns and aisles mark off" areas of light and shade. " Burning Leaves, Kensington Gardens " (Plate LII), by Charles Job, likewise owes its fascination to the emphasising of aerial perspective by
:

29

by R.— the agency of mist. . Mischol managed to place his church than the foreground road ? As far as aerial planes are concerned the one is as near to us as the other. with its dreary waste beyond the snow-laden. itself afar off to the eye of the traveller" (Plate LIII). Floyd Vail gets distance more by scale than by aerial perspective in " Morning Stillness" (Plate XXXI) but J. We know they are not when we are on the spot. both this and "Sierra de Guadarrama" (Plate XIX). England is sufficient if it is allowed to assert itself. (Plate LII). these agencies in his splendid subject called "In a Land of Romance" (Plate (XXXVII). Lomax that he has been content to express himself by such simple and " Furna " (Plate XIII) shows us the result of a clear dry air again. weather-stunted fir. - 30 . M. which is a warning against this method of picture-making. Paul Edwards but here there is less detachment of planes for the reason that the scene is one in a country where the air is dry and clear. by P. Almost as forbidding in mood is "Winter Solitude" (Plate XVIII). de Boer's " Sand Dunes" But this is an exquisite rendering of the cheerlessness of such a solitude. J. and gives the tree an uncanny look. whilst the churches and cathedral retire but lose no dignity. so dense and dark that one scarcely sees what is near and what is far. in size. "The Prairie" (Plate LIII) primeval also— is interesting in another way. Here the mill is. D. The latter is relieved by give an idea of the bigness of their Spanish valleys. there are no planes at all: onlyatumbled mass of rocks and vegetation. How much further away has D. Wilkinson's " On the Edge and Beyond " (Plate XLIV). which has no texture. It is no argument to say that they look so to the eye. Another scene. and perhaps not at all outside it. For some unfounded reason one scarcely thinks of snow in Madrid. ! we look at the picture. Andrada. however. In "The Forest Primeval" (Plate LIV). for I am convinced that it is in this direction that pictorial photography can go furthest and win the most undying popular approval. Leonard Misonne looks at Nature with the eyes of a painter rather than a mere susceptible nature-lover. Tinoco's view is very impressive It is called "A Travis del Pinar" in scale and decorative in arrangement. Another effective foreground item is the sheep in " Marshland Pastures " (Plate XXXII) by J. Here Laura Gilpin has had to import a foreground interest in the shape of a figure — what a pity it was not a bison Arthur Lomax reverts to the method exemplified by Mr. by Wilse. scale. He was also in the land of romance when he was in " The Lonely Valley " (Plate XV). and it does so rather at the cost of looking nearer than it should. effective means. The beautiful atmosphere in He calls it " This presenteth Hector Murchison's stately view is proof of this. but two such views effectually correct that ignorant prejudice. As an absolute contrast. for the nature-feeling of Mr. an ideal foreground object. Whitehead avails himself of both . with no distance and no planes. and we ought to know they are not when sentiment. It says something. The sky is admirably in proper relation to the sand. But it is not only by the help of fog or smoke that the camera artist must The ordinary softness of the vaporous air of needs secure aerial perspective. (Plate XXXI). which is full of poetry and It is a joy to me to find photographers feeling the mood and spirit oi Nature to this extent. Keighley does the same. Alex. It is full of delicacies and subtleties which lie incontrovertibly within the domain of photography. I should have liked more quality in the foreground snow. and distance. with a forcible Diaz mood. " The Cloud " (Plate IX) acts the title-role. is J. His " Paysage Flamand " (Plate XLVIIIa) is a good example of his Barbizon style. Eickemeyer.

Its chief exponent in these days is Arthur F. This is a perfect triumph of design and richness of tones. — ! ! into the open and sunshine is simply to add a few reflected the intensity of Mr. Arbuthnot has never done anything so fine as this in the whole of his career Something like it is the Maenad-like portrait of "Mdlle. Hill. historical costume. a charming subject with a frieze-like treatment. has shifted to landscape. The most intentionally It picture of the collection is. who shows us " Winter in the Forest " (Plate XIX). Mikoulina " (Plate LX). The last snow-scene is by S. hardihood. and that is something not to be despised. by John Moffat. Surely Mr. is is to find the — not in their natural admitted to be the best attempt yet at the representation of a bull-fight by photography. But the finnicking days of pallid grey things are almost forgotten now. well these Chinamen are keeping it up. are recommendations. H. More decorative is "The Rose" (Plate XVII). O. has the merit of a great simplicity and a sweeping line. Carlos Inigo has achieved delightful quality in the head of his little figure in "Musica" (Plate XL).sunshine. I think the painted lips and eyebrows are a blemish. which is an art already. To skip from Spain to same influence at work the cheerlessness of Winter. Bull-fighting is. Cervcra. Youth. by Sidney Carter. The snow seems more at home somehow in this clime. . and an aspiration towards glor/ of a glitter and tinsel sort. of Copenhagen. by Angus Basil. Moffat's scheme of light and shade so. Doolittle has so cleverly pictured in "The Gamblers" (Plate LVII). Perhaps a worse kind of sport is that which is prompted by nothing but a grabbing spirit of gain. and Japan altogether in a less cruel mood of Nature. by Malcolm Arbuthnot. fearless strength. find " (Plate Back in Madrid again. of course. It teems to gleam in the hues that Lord Leighton affected. Kales. and does not imply that there has been a great deal of searching after composition. "Along the Edge of the Snowy Peak " (Plate LVIII) shows a scene where the mountains arc veiled and the depressing effect is emphasised by the tottering fuel-carriers whom S. Here again was a fortunate incident at hand for the picture-maker. Her group of young ladies holding " The GaHand " (Plate XX) is very fierce in its black and white tones. lights to To come — Romanticism is not quite so rife in figure-work as it was some years back. whose " Florizel " (Plate XVIaK though rather far-fetched in its theme. however. " Set to Partners " (Plate LVII). certainly but it has something in its objectives which is not entirely despicable that is to say. Saba very luckily included. and pure enjoyment of life habitat. and the archaic stiffness of the pose. such as How J. Barton vouches. Mrs. but the hands are not lovely. It has more of the mediaeval spirit than " Florizel. composition and lighting this is a remarkably successful picture. from one point of view. Who would have thought so fine a design could be made with a lady's head and shoulders ? The decorative I 31 . otherwise mere darkness is no better than insipidity. For action. and many of our workers are looking back with better judgment upon the frank statements in light and shade of D." Personally. and is very like his style in massing and silhouette. by M. "The Vine" (Plate XI). The four deer save the rather characterless foreground and lend a fine quality to the forest by throwing its tones into a secondary plane. Werner. It has a fine. at least. although they must have known the camera's eye was upon them It is a capitally designed group. a reprehensible form of sport. but the design. "Corrida de Toros we more animals — but this time is XL). But we must avoid brutality and court quality. It leads us to another sport and pastime group. the dance. adroitness.

I. but scarcely naturalistic. Beguin.triumph of this is. Here we have a fine model whose arms and shoulders have been made the most of. "The Dragon-fly Dance" (Plate VII) is perhaps a little more acrobatic than graceful. though so many photographers let it escape in seeking other things. for it does not bear out the shadows on the wall if shadows they are. S. blemishes the woman's head is too much depressed for pictorial effect. has succeeded well in the gleam of the flesh always one of the the numbers — studies. It seems that Horror is the theme. Smith in her classically or look. has more quality and better form than the substance. "Where none may come. Bassi. Francis Jay continues the classic tale in It shows his remarkably clever composition. by Uno Falkengren. A. both in form and content. the beautiful modelling and light and shade of the shoulder and clavicles. a happy incorporation of the figure into a really expressive landscape. on the whole. It is still in the Ballet manner. all in the best traditions of art. in the The nude open is conceived picture. (Plate XXVI). No doubt this was inevitable in a dark room lit by a single window. and to my mind the modelling is less firm and beautiful than it was in the other picture. the lighting is certainly effective. has many good qualities. for the posing is too beautifully sophisticated to allow the work to be classified as genre. Perhaps. and the group is isolated. — : This interior naturally makes one turn to R. Dr. The added cloak does not improve the figure by confusing its contours. " Le Devidoir" (Plate XXXIV) by F. " (Plate X) is perhaps one of the best for delicacy ot treatment and beauty Globe The ^Globe wants finding. in which the comely lady peeps through the curtains into 3* . however. And more classic still. no doubt. The draped figure is most attractively used in " After the Dance" (Plate XXII). In the nude proper there has been a slight falling away from the standard and Nickolas Murray's half-figure called " The of the last year or two. We get that more exactly Mouse" in Lionel Wood's amusing and highly original little comedy. Genre is definitely reached in "La Poule tuee " (Plate XXIX). called " Les Sirenes " (Plate XLIX). especially as the costumes are so light. but here was a case for some adventitious reflections. In this. R. and Paul L. "The (Plate XLI). Vanity appears. Polak's charming interior called " Curiosity " (Plate VI). is Louis Fleckenstein's admirably designed " Ariadne" (Plate IX). I cannot quite see the point of " Vanity " (Plate XXII) by H. Mettee. "Joy" (Plate III) by Ida Krajewski. to have something to do with "The Looking Glass "(Plate XXV). It has two a delightful piece of posing and excellent in its light and shade. But it is a splendid figure. which for the reflection I much prefer to contemplate when it is upside down. because its details are rather opposed to the classic feeling of the leaping figures. and a strong and simple scheme of tones. and might have been the title. by Miss M. or break the Spell" (Plate XXXIII). though the gorgeous half-tone on the flesh will. charms of nude by Pierre Dubreuil. Waldemar Eide repeats his signal success of last year in his "Dance of Salome" (Plate LXIV). Lovejoy in "The Supplicant" of pose. the former version was the more admirable. very prettily given by Miss K. The devidoir is on the window-sill. is a fine photograph of movement and the background is well managed. We are now right into the ballet section. Anderson was not well advised to show so materialistically the garden-setting. however. win countless admirers. but to my mind is over forceful. It is the apparatus that holds the skein for winding.

More romantic perhaps but not more artistic is W. The curious veil made by the hanging nets amused everyone who. the immense cloud of foam is obviously dealt with as part of the design. Mortimer's " Storm and Sunshine " (Plate XXXIIa). The camera has introduced of a view from a near cliff. v. S. Anderson in his splendid architectural subject "Waterloo Bridge Approach" (Plate IV). The spot of sunshine is very effective. which is not too melodramatic. in which for the first time in my experience a church has been photographed during a service. This idea has been much used of late by that painters. Similar tonal resources have been taken advantage of by John H. the Another interior serves as a link to architectural themes.-j- . And such charms may also recommend R. remarked "Nets and Boats (Plate XLIX). " in D. in Corner of the Rhodes Memorial" (Plate XXI) In F. a new variety of shore scene. gleaming in the sun. where the little figures are of the utmost value in giving scale and life to the scene. and even texture. Alvin Langdon Coburn has made no attempt whatever at composition. Prior found it all ready for him in the splendid display Perhaps the fireworks to makes no claim "Who 33 \. the line Here again. design has not come into consideration. G. In " Harlech (Plate VII). yet tells its convincing tale of form. J. but stands or falls upon technical achievements which are certainly remarkable. Sweatman has produced a real decoration that can make claims to still-life charms. Stick's highly interesting print. The subject loses nothing of architectural grandeur and certainly gains in meaning by this innovation. and in Sir W. namely. T. in securing and placing his figure. A. C. How effective this can be is shown in J. F. who might find "Kelp Kelpie" an even more arresting title. Beardsells "Sunrise on the River" (Plate XLVI) there is no dc3>f>n at all. But in "Water Lilies" (Plate XLIII). His clouds and his castle have simply nothing whatever to do with each other. represented with such beauty of lighting and quality. K. "Kelp Kewpie" (Plate XXXII) is another excellent design but what is a Kewpie ? Perhaps it is what in these islands we call a kelpie. The sunbeam is a great feature. Chances "On the Dunes" (Plate XV). Penrice's admirable " Adeste Fideles " (Plate XXXV). pray ? " (Plate XXV). The gleam of the upper buildings and the subleties of illumination in the shadowed parts are notable points in what is an original and highly effective chiaroscuro. This is by Otis Williams. Mathieson's African scene "A " which the grand wildness of the setting is a magnificent foil to the stately formality of the building. Design of a more ordinary sort is seen in Geo. Neeson's assortment of pots to which is appended is the potter. The creamy foam in the foreground. M. P. and in that respect has let slip resources which would have made a far more telling thing of his grand material. which is a great pity.Seldom has a costumed figure been posed with such grace and street. with the result that the whole subject is homogeneous. "An Illustration for 'The Arabian Nights'" (Plate XXIV) redounds to the cleverness of its author Fred Archer. is as fine in its way as the wonderful wave that rears and disintegrates into vapour. M. Bricarelli has an eye for the fantastic. This is Miss. Wadia's "Spectacular Display" (Plate XLV) design. at the Salon. modelling. Polak carries these Dutch interiors further in the direction of excellence each year. '• The Surf Line " (Plate LV). but where does it come from ? not from the dark windows on the right. . but simply an unsophisticated but very striking rendering of sunlight on the water.

and to discredit it in its highest achievements. Rawlins. There is. (Plate XII) the dramatic feeling makes an In Charles Borup's "Mdlle. by J. At least. " that bears the title "Mother in the Cottage next to my own " Sir This is a remarkable piece of portraiture. H" The children "Daphne" (Plate She is of the year's I). is. Remfeldt. ! with a light in the background. The young woman is a sublime study worthy of Donatello. With J. is not a specimen of pictorial photography. "Reflection" (Plate II). 34 . mixed with an undoubted faking faking reaches its apogee in "Ward Muir " (Plate XXXIX) by Bertram Park. O. It goes a bit further entry. As a final instance of the excellent motives and masterly treatment that portraiture now receives. lit work are fortunately less disturbing to look upon.S. but aesthetic charm is The drama of " Etaples Types" (Plate VIII) by Keith Dannatt. truly fine art. William Crooke's Harold J. quite unassumed and that is why this painful and pathetic group makes so piercing an impression. and much enhances the stately dignity of the subject. . but of a new way of treating prints suitable to commercial purposes.of lines and shapes in beautiful fact " The Golden Eagle " (Plate LXI). Lambert. unsophisticated. Delightful in another way XXXVI). E. This is a case of a and no tampering. "The Laughing Boy" (Plate XLVIII). The agony of this character is impressively given. too much mediocrity too much happy-go-lucky unsophistication. the highest and best results remaining would at once take their stand amongst the great things in art. . idea must have actuated H. If we could prevent the permanence of everything that was not really fine. But that is because photography.R. H. whilst Hugh Cecil's "Portrait" (Plate XLII) relies upon a sort of naivetd of pose. and in "El Campesino " (Plate LIX) a Spanish Tramp presumably. however. in its result. is a pretty little lady not devoid of mischief. is content to let his " Cameo" (Plate L) speak for itself.C. F. called " The Feather Fan " (Plate XXIII). What a portrait for a Marcus Adams has been to the fore this year in his portraits. Goodwin in the human document. Mackenzie's beautiful work. itself. or more to imagine anything satisfying in design and tonal scheme. however. Hugo van Wadenoyen. by Walter Benington. like everything else in the domain oi art. as far as it goes. of which " David " (Plate V) is a good sample of his artistic treatment. Stiles. true to nature within the limited scale of a single tone and white paper. we may consider W. only giving the handsome profile a gentle diffusion and relieving it The same speaking for (Plate LVI). by H. M.. Just as straightforward is Mrs. is something of an acquired taste. Junr. uppermost. by which a poster-like effect can be obtained that is. by A.B. Savignac it reaches full power in "Miss Sybil Thorndike as Medea" (Plate XIV). (Plate ! is charmingly and cleverly placed little "Miss Holm" doting mother to cherish children's in her setting." (Plate XLVII) is just what we have been Except for the rather diffused lighting its idea is quite accustomed to from him. on the other hand. Professional painters are given to pooh pooh it in the mass. B. by the Earl of Carnarvon is still dramatic in feeling. The best of photography is. it is certain that those who understand it best like it most. more effective in lighting and clever It is scarcely possible in manipulation. shown by G. Echague's "En Castilla" (Plate XVI) we get an And appearance of forthright representation. Minna Keene's "Indian Chief" (Plate XXX)..

By HERBERT LAMBERT (Bath). .¥i !.*#* 1^ DAPHNE.

. By The EARL OF CARNARVON (London).PLATE II REFLECTION.

Bv Miss IPA KKAJEWSKI (San Francisco) .

PLATE IV WATERLOO BRIDGE APPROACH. ANDERSON (London) . By JOHN H.

Bv MARCIS ADAMS ^(London).PLATE V DAVID. .

. By RICHARD POLAK (Rotterdam).PLATE VI CURIOSITY.

. ANDERSON (Nhw York).) DRAGON-FLY DANXE. Bv PAUL. By ALVIN LANGDON COBURN (Harlech. L.PLATE VII HARLECH.

PLATE VIII ETAPLES TYPES. By A. . KEITH DANNATT (Surbiton).

ARTHIR LOMAX (Cardiff). Hv l.PLATE IX AKIAUXt. THE CLOUD. By J.liCKENSTEIN (Los AsGhLEs). .ul IS 1 l.

By NICHOLAS MURRAY (New York).PLATE X THE GLOBE. .

Bv MALCOLM ARBUTHNOT (London).PLATE XI THE VINE. .

PLATE XI! MDLLE. . H. By CHARLES BORUP (London).

. By D. MISCHOL (Switzbriand).PLATE XIII FCRXA.

By WALTER BENINGTON (London)* .fLATE XIV MISS SYBIL THORNDIKE AS MEDEA.

Bv ALEXANDER KEIGHLEY (Stbeton).PI ATE XV THE LONELY VALLEY. ON THE DUNES. By GEORGE CHANCE (New Zealand). .

PLATF. By J. XVI Ml JER DE CASTILLE. ORTIZ ECHAGUE (MACRir. .

. KALES AagcWt).LATE XVI* FLORIZEL ARTHUR (Lm F.

.

PLATE XVII THE ROSE. By SIDNEY CARTER (Montreal). .

.PLATE XVm WINTER SOLITUDE. Bv WILSE (Chbistiania).

SIERRA Ub CiUADAKRAMA. By F. Bv SICVERT WERNER (Copkniiacen). . ANDRADA (Madrid).PLATE XIX WINTER IN THE FOREST.

G.PLATE XX TFiE GARLAND. BARTON (Bikmikgham . Mrs. a.

By W.PLATE XXI A CORNER OF THE KHOUEb MONUMENT. . MATHIESON (Cape Town).

PLATE XXII AFTER THE DANCE. By V/SO FALKKXGREN (Stockholm) VANITY.S.A. U. By holmes I. .. METTEE [Arlington.

TEK MACKENZin (Montreal)- .PLATE XXIII THK JtAlHtK FAN. Hv \\.\r.

PLATE XXIV AN ILLUSTRATION FOR THP: AHAHLW NIGHTS. By FRED ARCHER (Los Anoeles). .

AND WHO THE POT ? Uv REMJCK NEESON (Baltimore). GLASS. . By PIERRE DUBRELIL (Lillb). WHO IS THE J'OTTEK.PlATt XXV THE UOOKlSr. PRAY.

A.s). . By W.S. THE SUPFLKAXr. L0\'EJ0Y (Torti. sawyer (Los Angei.f. By Or.PLATF XXVI TRIMMING THE JIB. U. C. S.and.). K.

NK. DKlAMINf. .IBHY (Portland. 1.PLATE XXVII THr.S.A. I. U.HT By I-RAXfIS O.

MILSON (Sydney) . By Mrs. ALTRED G.PLATE XXVIII KETUKK OF THE AUSTRALIAN LIGHT HORSE.

A BASSI (Turin).PLATE XXIX L\ POULE TUEE. Bv Mws M. .

MINNA KEENE (Toromo).PLATE XXX AX INDIAN CHIEF. . -I'O' Bv Mrs.

Bv FLOVn VAIL (New York).PI ATE XXXI A TRAVES DEL FINAR. . /« ^. MORNING STIM-XESS. 4( . TINOCO (Madrid). By j.

By OTIS Wn. By JOHN PAUL EDWARDS (Sacramento).I. MARSHLAND PASTURES.IAMS (Los Angelks).PLATE XXXIl KELP KEWPIE. .

blURM AND Br F. ^u^^^^l^t. J. MORTIMER .

.

PLATE XXXm WHERE NONE MAY COME OR LOOK OR BREAK THE SPELL. ." By KATE SMITH (London).

. I. BEGUIN (Namur). By F.PLATE XXXIV HOSPICES DE BEAUXE.E DEVIDOIR.

PLATE XXXV ADESTE FIDELES. PENRICE (Bournemouth). . Miss M. K.

) . By AAGE REMFELDT. (Christiania.PLATE XXXVI MISS HOLM.

Bv J. WHITEHEAD.PLATE XXXVII IN A LAND OF ROMANCE. (Alva. M.) .

.PLATE XXXVI II LONDON. By ward MUIR (London).

By BERTRAM PARK (London). .PLATE XXXIX WARD MUIR.

By CARLOS INIGO (Madrid).PLATE XL CORRIDA DE TOROS. . By M. CERVERA (Madrid) MUSICA.

. By LIONEL WOOD (Brighton).PLATE XLI THE MOUSE.

.PLATE XLII PORTRAIT. By HUGH CECIL (Lomdon).

By TRAVERS SWEATMAN (Winnipeg). .ILIES.PLATE XLIII WATER I.

WILKINSON (Adelaide). . By a.PLATE XLIV ON THE EDGE AND BEYOND.

. P. C. WADIA (Bombay).PLATE XLV PITTSBfKOH. By D. A SPECTACULAR DISPLAY. TORRANCE (Pittsburgh). Uv H.

By T. JllCAKl |^l:l. B.PLATE XLVI OPKN-AIR LiFK IN ITALY.l. (Madras). By Sir W. ilADRAS. A. BLOW (Welwyn) SUNRISE ON THE RIVER. .

. . M.S. STILES. F.PLATE XLVII SIR HAROLD J. By WILLIAM CROOKE (Edinburgh).B.C.R.

KAWI.j-T. K.) . By G. H.H^ LAUGHING BOY.INS (Kentmere.

.P- .PtATE •XBT- J^ PAYSAGE FLAMAND.

t^ ...:.

PLATE XLIX L£S blKENkS. Bv FRANCIS JAY (London). NETS AND BOATS. . Bv STKFANO BKRAKKLM (Turin).

.CAMEO. By HUGO VAN WADENOYEN Junr. (Cardiff).

PI ATE II NATURE'S CATHEDRAL By S. . BRIDGEN (London).

DE BOER (Holland). . KENSINGTON GARDENS. By J. By CHARLES JOB (London). BURNING LEAVES.PLATE LI I SAND DUNES.

' THE PRAIRIE Hy LAURA GILPIN (Colorado).PLATE Llll THIS I'RESEXTETH ITSELF AFAR OFF TO THE EVE OF THE TRAVELLER. Bv HECTOR Ml'RCHISON (London). .

PLATE LIV THE FOREST PRIMEVAL. By RUDOLF EICKEMEYER (Yonkers). .

THE SURF LINE. STICK (Los Angeles). Bv JOHN C. .THE RETURN OF THE FLOC K. Bv FKED JUDGE f (Hastings).

PLATE LVI " MOTHER IN THE COTTAGE NEXT DOOR TO MY OWN. GOODWIN (Stockholm) ." By HENRY B.

Bv JAMES N. .AMBLERS. THE r. Uv J. DOOLITTLE (Los Axoeles).PLATE LVII SKT TO I'AKlNKKr. Moi-IAT (Kdinburgh).

By GERALD E. JONES (Auckland. .. ALONG THE EDGE OF THE SNOWY PEAK.Z.PLATE LVIII AN OLD WATER WHEEL. SABA (Japan). Bv S. N.

. SAVIGNAC (Madrid).PLATE LIX EL CAMPESINO (LE PASSANT). By J.

MIKOULINA. .Mm MDLLE.PLATE LX ^^^^^^^^^HR^^K 1 H -<*> Bf4^ ^^^1 If ^B . By ANGl'S BASIL 1 IMf 1 * (London).

.UEN EAGLE. IlY GEUKGE l\ I'KIOK (London). Bv HARRY STORM (Cardiff). THE (-.fH.PLATE L-\l BEAUTIFUL FACT.

PLATE LXII MAKING READY. By CECIL W. BOSTOCK (Sydney). .

PLATE LXIII THE BOUNDARY RIDER By C E. IDLE MOMENTS. . WAKEFORD (Sydney). By WALTER THOMAS (London).

BOSTOCK (Sydney).PLATE LXII MAKING READY. By CECIL W. .

. By WALTER THOMAS (London).PLATE LXIII THE BOUNDARY RIDER Bv C E. IDLE MOMENTS. WAKEFORD (Sydnkv).

PLATE LXIV DANCE OF SALOME. By WAT.DKMAR EIDE (Stavanger) .

.

14 14 15 16 GOSS 17 PICTORIAL PHOTOGRAPHY IN AUSTRALIA By HAROLD CAZNEAUX PICTORIAL PHOTOGRAPHY IN FRANCE By G. P. C. 6 PHOTOGRAPHIC RECORD AND SURVEY SOCIETIES POSTAL CAMERA CLUBS PICTORIAL PHOTOGRAPHY IN CANADA By a. TILNEY Plates I. 27 CROWTHER 28 SOME PICTURES OF THE YEAR CRITICAL NOTES. PORTERFIELD PICTORIAL PHOTOGRAPHY IN SWEDEN AND By H. 2 8 . GOODWIN PICTORIAL PHOTOGRAPHY IN HOLLAND By ADRIAAN BOER PICTORIAL PHOTOGRAPHY IN By HANS WAAGO NORWAY . L..CONTE NTS PAGE FRONTISPIECE " : PEACE AFTER WAR— AND MEMORIES " THE YEAR'S WORK By the EDITOR 3 THE BRITISH PHOTOGRAPHIC SOCIETIES AFFILIATIONS AND FEDERATIONS OF PHOTOGRAPHIC SOCIETIES . B. By F. . PICTORIAL PHOTOGRAPHY IN AMERICA By W. PHOTOGRAMS OF THE YEAR INDEX TO TITLES INDEX TO AUTHORS to LXIV. ORTIZ ECHAGUE PICTORIAL PHOTOGRAPHY IN ITALY By STEPHANO BRICARELLI 25 26 PICTORIAL PHOTOGRAPHY IN JAPAN By C. . 19 PASCAUD 20 H. 21 23 DENMARK 24 PICTORIAL PHOTOGRAPHY IN SPAIN By S...

i» I How old Art ? " As old as man. and what ynu do will be ' safe TMK IUPBHIAI.innin). Ihe eiecution nrcrs-arily becomes lower. .ilways produced the best and antici|>ated the needs of those whom they have sought to supply they ISl51[HJl5i rgJL5irej5i]ljJ| RJlSi rBl[siill5ifH]lS1 fgJl5ir2Ji5irHJl51fgJ(g1 therefore hope they have been influential for good. or It It may like have been sooiething If may not. exactitude and uniformity of the actual worthy manufacture." IMPF. LTD. "The Two Paths.. IMPERIALS and The first you will choose of . Moiem artists depend mostly upon manufactured products. On this subject that virile writer and art critic. f)cnsity. wbal you do shall be >afe afterwards.] LoNDox. to be relied upon to resiwnd lo the most delicate manipulation and to do everylhinjj its makers say it wi I do." but probably thai Our rouseumt contain not true. could siill prepare his own pigments. but of^ Van the pictures of that early period are slili fresh and wonderful. and Ibe art with it. : an Are You Use Safe " In proportion as the inalerul worked upon Is \r%-< delicate.. but erode as they are. whatever it was. Looking back over the ages the masterpieces of : YOU Made Then) our Results If of the name is the result of the hand and the intelligence working together. as nacb as lo supply li if roe resoln from Ibe Icsl ibai. and the secret probably lies in the (act that artisu in the manulfacturer. . SOOMB always sought to achieve. DRY PUTS CO. someone must have made a be. The makers ALS is recognise art of : of IMPERIthat there tifbt YOU Would Use 5 5 5 iB an making photoa plate graphic plates iMue was bom* that.. but the pace of whom you supiily. : zing the fact that lhe>e marks recall somethinic then an atseen before tempt lo repeat the lines and indentations already made. by the expenditure of even mors lime sod trouble and money. man ha> not ceased to seek fresh means (or bi* artisiic expresaion the Ulest result o( his search i* the art o( the photographer.HUL a SI aj impeehal. and fCase of Working. IMPERIAL PLATES Arc Prepared With As Much Care As man • tike beint:. might prepare bis own plates. life forbids the artist to spend lime in preparation of material which should be spent in the exercise of genius. The artist in colours. Kven that plates have extreme delicacy neces- i agggggg§^^[sig^ggg§gggg-[6] ©^ __i„_ modem . yoe will Pfodaee what Is bml. 5 S Now what has Ruskin First 5 S 5 a lo say to the artist? as to material us are comparatively tcaniy we have lo«t liiem by 6re and flood. Because of the first.. We pass on. . that the " Angel us " and other pictnrce of Jean Franfois Millet are perishing the colours changing and the paint cracking and many other examples of the works of modem painters fast losing their glories. CRICKLBWOOD. They believe thai they have formed the market as well as " supplied " it. and by the intelligent research and tu|ier%ision of their highly qualified chemists." . it examples of many early efforu. bowever. dimly reali- m " Art is the operation of the hand and the inlellinence of man together there is an art of making machinery there is an art of buildins ships an art of makins carriages: and so on. by ruthless deslroclion. and the artist in pbotography. the others are Speed. Freedom from Fog. has something to say in his collection of assays. ' ' 1 I the early artisu prepared tbair own pigmeats. so far as roe can ascertain or discern wbal la bcsi.. not merely in tosw but in every IMPERIAL plate. The recent annoancemeni. by the allcooquering ravages of itself lime far less often by the unworthy imperfections of the material or medium tbroogb which that art ramaininic to . you may literally become more mflucniul for all kinds many lectures on art of good than That is a high standard to set. Kuskin. therefore.. cofuideraiion of the probable Irodcncies :ind posiible tulcs of the people inleiliiicot Artist and Manufacturer. the earlieat pOMibljr repretenit the accumu- some uould reply.'' Choose rightly. They have brought this art to its highest |ioint by perfection on both sides : by the care. on an you who are photogra|ihy are dependent U|ioo artist tn oils. poking about with a stick the sand. by the expenditure of time and trouble and money. but ince the beginning. I 1920. LOSDOS s. sary for the execution of ihe must artistic work. purpose. i — more than the — nediams. draws Ibe attention of artists to the need for care in the preparation of their . and so place in the hands of the manufacturer the ultimate fate of their work. aod the artistic . but one which the makers of IMPERIALS have ' ' i . Choose PERIALS charactt-rislic IM- { IMPERIALS. for they have . and knowledge lated thousands pcactice o( Somewhere years. They are made in many different grades. . Painting in oils began with Eyck some 300 years ago. Just one other word of Ruskin's advice to artisu: ' If you choose riuhily and work lUfally. all the others are secured. each planned and prepared exactly for its expressed itself. is Uni/ormily . o( back to the dim a«es. .wa . [all rights reserved. Tlie relationship of Ihe manufacturer and the artist is therefore a very vital one." First of the manufacturer " Vos maM re u w uilx i always thai your Ms asss as Bsnaiactaiers is to form Ibe msrksi.: : : . COPYRIGHT.

. The Florizel XXIII Arthur F. Fred Archer (Lcs Angeles) XXIV IX Louis Fleckenstein (Los Angeles) . Along the Edge of the Snowy Peak "Arabian Nights. Cervera (Madrid) . . A. .A. . Waldemar Eide (Stavanger) LXIV I Daphne David Herbert Lambert (Bath) Marcus Adams (London) . J.. Mathieson (Cape Town) XXI M. The Burning Leaves. Doolittle (Los Angeles) Mrs.. Kales (Los Angeles) XVIa LIV XIII Forest Primeval. V VII Dragon Fly Dance Dreaming Night. . XL VI Richard Polak (Rotterdam) Dance of Salome . L. ." An Illustration for Ariadne Beautiful Fact ... Savignac (Madrid) A. Saba (Japan) . The . Corner of the Rhodes Monument. E. FURNA .. Wakeford (Sydney) . Charles Job (London) Junr. Hugo van Wadenoyen. Kensington Gardens C.. . . The Rudolf Eickemeyer (Yonkers) .) XXVII LIX VIII El Campesino (Le Passant) Etaples Types J.. plate . J. The James N. . K. G.. Libby (Portland.. Anderson (New York) Francis O. The XX . U.INDEX TO TITLES TITLE A Traves del Pinar Adeste Fideles After the Dance ..S. Harry Storm (Cardiff) LXI LXIII LII Boundary Rider. Mischol (Switzerland) Gamblers. Tinoco (Madrid) XXXI Miss M. Barton (Birmingham) LVII Garland.. Penrice (Bournemouth) XXXV XXII LVIII Uno Falkengren (Stockholm) S. (Cardiff") Cameo Cloud. L IX Arthur Lomax (Cardiff". A Corrida de Toros Curiosity VV... Keith Dannatt (Surbiton) Walter Mackenzie (Montreal) Feather Fan. The P. . D. author .

«m«« i» tddnm fcihir. The coveri/^g power remarkably good.3. aad ibc foliicr n illanralcd wnb aa adoal ipiciawa pnatprint arc gi*ci lrai*i fated. Tcciiakal A The ud u i many modem also is Uw MnM X CulMBvd Ml MBbW IflflflMM AkI flHBf acfsl Imm* an it TKm iul.. anastigmats of lower rapidity. It saves time. so that it not only saves money That is what the fine optical correction of the it makes money. as in some cases. and. softness being varied without in the least degree affecting colour correction. utd will be teal {rec * le aajr aoilieaal. so that the lens is very useful for group work under difficult lighting conditions. Focus Folder To aajr tpjilical cacleuag COVCf pOiAMB« A lOiOOT ifpi lo CONTROLLABLE DIFFUSION The adjustment evenly all WM DC MMt^ Anriiphem tt Am tah loca* r#«cu llial caa b* obuiaad with mil AM» a hi IcoM*. distortion. it saves temper. new Aldis F'3 Portrait lens means to you Power to deal with every variety of subject with the least expenditure of time — : Aldis Soft and temper.no« S lb.baxii of all t l«iu aicri. Fatt jafticalan aad nmeiam liw rarioai le wludi nia aa»i n caa be Free Lens Advice Wr «re at *J) iimr« on\f too pleated to o4vT rspMI cmi cay Uiw iTt&ciillr II r«« ar* *•* 9wl« cl«a# •« to tk» mmm hM•M* lor lllff partH w «rark Im*« vww. SparkhiU. illlillilllllil llllllllll The threefold power of the new ALDIS I F/3 LENS iiiiiiiij FREE Booklet on Aldis Lenses Thii bookUl II f«ll SPEED The F 3 aperture : (our times as fast as F 6. indeed. There are other soft focus uncorrected leises. «rWi wil b« «««• arfviM. book!*! | «< »— in iImii «ad ihoald be oa ba* aalMn. to you is : i of Oftrlul miornU' DEFINITION definition at full aperture F 3 when »et to sharp focus is exquisite.. The unique range and variety of such effects is due to the wonderful construction of this lens. merely a device for throwing the image out of focus by a controllable amount. (oil dMcnptioo F4 $ t >• (ivca oi ibe AJdii F/} olk«r IcMtt m ihe • lemet •< wr'l 2 arc raf> <i Svia*. but they are very sldwT. ALDIS BROTHERS. which admits of one quality in the image. and it gets more business. That is what the large aperture of the new Aldis Portriut lens means in mere sF>eed Power to get results when other lenses fail. very distinctly superior to that afforded by J lioa aad ativKC.Tlie soft focus effects afforded by the Aldis F 3 Portrait lens owe their peculiar charm to the fact that they are obtained at the exceptional rapidity of F. viz. astigmatism. etc. It is not. • nrfc . BIRMINGHAM iiiiiiiiiiiii .power to make your portrait studies possess peculiar and especial merit be: cause you did them. That is what the diffusion device fitted to the Aldis h 3 Portrait lens means to you Power to put your own individuality into your work . The advaalafa* ct the diCaiion Arric* arc cmpiaiard. wlack wiM r>* BMfr as abfaMtM lo atok* a pfcWii mHk* Uw iW caMU W rw •Uo « in the Aldis F 3 Portrait lens really does introduce over the picture a softness of focus which can be varied at will between very wide hmits.

An Gerald E. Pierre Dubreuil (Lille) XV XXV LXI I Making Ready Marshland Pastures Mdlle. poule tuee . Miss Ida Krajewski (San Francisco) . Bostock (Sydney) John Paul Edwards (Sacramento) Charles Borup (London) . Whitehead XXXVII Indian Chief. The Les Sirenes . Bridgen (London) Nets and Boats . The George F. XXIX XLVIII Laughing Boy. Ortiz Echague (Madrid) XVI Carlos Inigo (Madrid) ... Thomas (London) (Alva) M. The Looking Glass. The Lionel Wood (Brighton) XLI MujER DE Castille MusiCA . Jones (Auckland. Francis Jay (London) XLIX XXXVIII London Lonely Valley. Hospices de Beaune. Joy Mrs. . Prior (London) Harlech . Le Devido Idle Moments In a Land of Romance Beguin (Namur) XXXIV LXIII Walter J... An Alvin Langnod Coburn (Harlech) F. Stefano Bricarelli (Turin) XLIX LVIII Old Water Wheel.) On the Dunes On the Edge and Beyond Open Air Life in Italy George Chance (New Zealand) A. (Christiania) LX XXXVI XIV Miss Sybil Thorndike as Medka . Wilkinson (Adelaide) .Z. Cecil W.. PLATE Globe.. H. Rawlins (Kentmere) . Kelp Kewpie i. Blow (Wehvyn) . Mikoulina Miss Angus Basil (London) Holm Aage Remfeldt ^Valte^ . A. The (New York) X LXI VII Golden Eagle. XV XLIV XLVI T. Mdlle. .. XXXII XII H . Bassi (Turin) G. a Otis Williams (Los Angeles) XXXII Miss M. . The . XXXI LVI Mother in the Cottage Next Door to My Own Henry Goodwin (Stockholm) Mouse. Benington (London) Morning Stillness Floyd Vail (New York) B. N. Minna Keene (Toronto) XXX III .. Ward Muir (London) Alexander Keighley (Steeton) . E. B. 1 J.TITLE author Nicholas Murray . XL LI Nature's Cathedral S.

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' TITLE AUTHOR Leonard Misonne (Belgium) PLATE Paysage Flamand XLVHIa ?>ontispiece Peace AFTER Pittsburgh Portrait Prairik. C. XLV I XXVI The Surf Line. War — and Memories Harold Cazneaux (Sydney) H.. J..) C. .C... W. . Spectacular Display... .. Remick Neeson (Baltimore) Sigvert XXV XIX XVIII Winter in .. D. . W. . Stiles.... pray. William Crooke (Edinburgh) ..B. C.... Lilies Holmes L Mettee (Arlington.. Stick (Los Angeles) John LV "This presenteth itself afar off to th Trimming the EYE of THE TRAVELLER Hector Murchison (London) LIII Jib W. XLV Thk • .. Andrada (Madrid) XIX XLVII Harold J. LVII Sierra de Guadarrama Sir F. . and who the pot the Forest .) The Malcolm Arbuthnot (London) Ward Muir Water . A Storm and Sunshine . Milson (Sydney) Return of the Flock. de Boer (Holland) Moffat (Edinburgh) . The Sand Dunes Fred Judge (Hastings) . U. M. The . . P.R. .. Torrance (Pittsburgh) . R. Laura Gilpin (Colorado) Rose. Bertram Park (London) XXXIX Travers Sweatman (Winnipeg) XUH IV Waterloo Bridge Approach " WiiERE " John H. Set to Partners .. Wadia (Bombay) XLV XXXIIa F. Anderson (London) " NONE may COME OR LOOK OR BREAK THE SPELL the potter. U.A. . Hugh Cecil (London) XLH LHI XVII . . F.. The Sidney Carter (Montreal) Reflection Thfi Earl of Carnarvon (London) H XXVHI LV LI I Return of the Australian Light Horse Mrs.. Madras Supplicant. Sawyer (Los Angeles) XXVI XXII XI Vanity Vine.S. • Kate Smith (London) XXXIII Who is ? " . . Werner (Copenhagen) Wilse ^Christiania) Winter Solitude .. S. Alfred G. Sir Mortimer (London) Beardsell (Madras) Sunrise on the River. ...S. .S.. A.. Lovejoy (Portland. . J.A.... J..

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PICTURES
Q Many
of the reproductions in " Photograms of the Year " are very much more than Photographs they are reproductions from PICTURES.

I s»»

1 1

I
Immh

ir
.

In the recently closed

KOSMOS £500
the
entries

PRIZE

COMwould

Qj

PETITION many
pictorial

of

reached a degree of

and

artistic

merit which, a

few

years ago.

have been deemed

impossible

with Photography as the

fj

chosen medium of expression.

1 M

Many were

" straight "

pictures

on

g
lr|
tr|

VITEGAS— prints
com-

with

p>erfect gradation,
to

full

of quality and a richness

^^^

parable only

the

handiwork of

the engraver of old.

Others again had used
with delightful
_

VITEGAS
The

for the Bromoil process

results.

less- expert

workers had used
thin negatives.
this

NOVEX,
Q
If

a gaslight paper which can be depended on to

get ihe brightest fxjssible prints

from the

awl

|j|

you arc

intending

to

show anywhere

year give

-—I

yourself a fair chance by trying

VITEGAS

or

NOVEX.

E
—I

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All " live " Dealers stock them.
Full particulaii, poal free, upon mentioning " Photograms the Year " to the maimers :

5

M
LTD.
HI

of

m
isiiinuiiisiiiJiisiisiiinisiisiiiniiniaisiLsiiiiiETEi

p i3

KOSMOS PHOTOGRAPHICS
LETCHWORTH, HERTS.

INDEX TO AUTHORS' NAMES
NAME.

RE ference.
34
3332.
25, 30.
31-

pl.\te

Adams, Marcus Anderson, John H. Anderson, P. L. Andrada, F Arbuthnot, Malcolm Archer, Fred
.

V
IV
VII

XIX
XI

3331313^33.32.

XXIV

Barton, Mrs. G. A.
Basil,

Angus

....
.

XX
LX XXIX
XLVI

Bassi, Miss M. A.

Beardsell, Sir W. A. Beguin, F

XXXIV
XIV XLVI
LI I

Benington, Walter Blow, T. R.
.

3428.

Boer,

J. de BoRUP, Charles
.

303428. 33.

XII

BosTOCK, Cecil W.
Bricarelli, Stefano

LXII

XLIX
LI
II
31.

Bridgen,

S.

.

.

29.

Carnarvon, The Earl of Carter, Sidney
Cazneaux,- Harold
Cecil,

34if>,

XVII
Frontispiece

28.
-342.5,

Hugh

.

XLII
31-

Cervera, M. Chance, George
.

333334-

XL XV
VII

CoBURN, Alvin Langdon Crooke, William

XLVII
^

Dannatt, a. Keith
DooLiTTLE, James N.

343132.

VIII

LVII

DuBREUiL, Pierre

.

XXV
XVI XXXII
LIV
'

EcHAGUE, J. Ortiz Edwards, John Paul ElCKEMEYER, RUDOLF
.

34-

30. 30.
22, 32.

.

EiDE,

Waldemar

.

LXIV

«

HiA.

,

"

The

leading exhibitors

— whether

they work in bromoil

— make
the

in

direct

bromide or

their pictures

on

Kodak
direct

The
'

Bromide' Papers. bromide workers
long
scale
of

appreciate

gradation, the rich pleasing tone

and the full-bodied, etching-like quality of all the grades and the bromoil workers appreciate the pigment-taking, even surface, and the power to withstand the wear of inking-in of " White Royal in particular. For pictures
;

with

true

pictorial

quality

use

Kodak Bromide Papers


Kodak
Ltd..

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W.C.

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xxn IX LIII Fleckenstein. H. Aage XXXVI 10 . 32. reference. . MuiR. Francis Job. J. 29. W. Inigo. 29. Mettee. Miss M. Holmes Mischol. Uxo 32. Hector Murray.A 1 NAME. Remick 3334- Park. Alexander Krajewski. . 34. XXXIlA XXXVIII LIII Murchison. XLVIIlA LVII Mortimer. S. Fred . 30. 29. Falkengren. Gerald E. Arthur Lovejoy. PLATE. 32. E. 32. LXI XLVIII Rawlins. 32. 33. Herbert Libby. Bertram Penrice. Mackenzie. XXI XXII XXVIII XIII 32. Lomax. R. Richard Prior. X XXV XXXIX Neeson. 31- MiLSON. 3434- George F. MisoNNE. Henry B. Carlos . LVI 1 Judge. 30. XXVII IX . LV XVI Kales. Minna Keighley. Nicholas 30. Mrs. Walter Mathieson. 29. Jones. F. Leonard Moffat.-3i- XL XLIX LI I Jay. 34- Goodwin. D. PoLAK. XXVI XXIII 34- 33I. Remfeldt. Francis O. 313430. 33. Charles . LVI 25. 30. Alfred G. Mrs. Keene. XXX XV III 32. . Arthur F. 29. K 33- XXXV VI 32. W. 28. Louis Gilpin. G. Ward J. Laura 30. J. Miss Ida Lambert.

. ENGLAND. guaranteed to give better tone values than any plate on the Strongly recommended for pictorial work.C1. I A A %>%3 market.11 >ARNE' Plates Papers AND \ i Self-Screen A 1. Lbl and Handbook- I IP. ELLIOTT & SONS % BARNET. Barnet Gaslight A Paper StnJ for "Price best for little prints.

C. 3329^ 16. 28 XXXI XLV XXXI L Floyd . 31- PLATE. Saba. LXIII Torrance. p. Williams. John C. REFERENCE. 3428. Lvni LIX XXVI XXXIII Kate Stick. Travers Thomas. C. 33- LV LXI XLIII 28 25 30. J. 24. E. Walter TiNOCO. Storm. J. . Otis 30 29 33 30 32 XIX XXXVII XLIV XXXII XVIII WiLSE Wood. Vail. 32. 31- Wadenoyen. Smith. 25. . Wakeford. W. Sigvert Whitehead. D. Sawyer. M. Lionel XLI 12 . . Werner. 27.NAME. H. Wilkinson. J. S. XLV LXIII C. Savignac. . 30 34 33 29 21. Hugo van (Junr Wadia. Harry Sweatman. A.

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P68 1920 Eafii Sniab CNGiN STORAGE PLEASE DO NOT REMOVE CARDS OR SLIPS FROM THIS POCKET UNIVERSITY OF TORONTO LIBRARY . Fhotograas of the year ..TS..

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