OCTOBER

1913

RiCE

15

CENTS

PLATINUM
A TOURNAL OF PERSONAL EXPRESSION

PRINT

NEW YORK
2

EAST 29TH STREET

THE INTRODUCTION
From loosened
fastenings "Platinum Print"

now
Its

glides noiselessly

down the ways into the

whirling current of life.

mission
is

to place before readers ex-

amples of photography as a medium of expression, and to publish aswell,thewritten,personal

word on
While
an

subjects possessing contemporary in-

terest in varied fields.

perfection

is

hardly coincident with

initial issue,

these limited pages are but an

earnest of the pleasure

tributing to
circles
its

we

shall feel in con-

gathering strength. In widened

of active usefulness, the maintenance

seal.

of its freshness will constitute our greatest

PHOTOGRAVURE
By Alvin Langdon Coburn
f

you

are curious
I

touching the high lights towards the

to

know why

have written this article on "Photo'

gravure" for "Pla'

when the etching mordant has had time to permeate the thickness of
finish

the gelatine. All these

little

etched pits

of varying depths give an ink holding

surface.

tinum Print",

can give you three

reasons: firstly be'

To make an
plate
all
is is

impression, the etched

printer's ink

daubed with

and

cause a photogravure
like a

may be

so

much

that will not stay in the etched

work

platinum print that

it is difficult

to

tell

them apart, secondly because these

two most satisfactory ways of rendering a photographic negaprocesses are the

tive,

piece of wiped off with soft rags. damped paper is laid on the surface, and the two are put through a press, which forces the paper with great pressure into

and thirdly and lastly because the have asked me to do so, and they are too good comrades to refuse them.
editors
Briefly, a polished

every
ink

little

pore of the plate taking the

it.

away with

The

result

is

a photo-

gravure and for each print the plate

copper plate

is

cov-

must be inked, wiped, and pulled through

the press, necessarily making a long and
laborious process according to

ered with a fine dust of powdered bitu-

men, which is then heated until the tiny

particles

modern

adhere to the surface.

is

Upon this

requirements.

grained plate

laid

down a carbon nega-

Until quite recently photogravure has

tive resist (printed

from a reversed positive) and this is developed in the usual manner of carbons by laving with hot water. The copper, covered with innumerable little acid resisting dots, and subsequently with the various thicknesses
of gelatine of the carbon image, thin in

remained very

much unchanged
it

since

Fox-Talbot invented

some sixty years ago. It gives richness and beauty equalled by no other method of reproducing phomind, however, and much experimental work has been carried on to make it postographs.
is

The

scientific

never

idle,

the shadows and gradually thickening

sible to print

photogravures by machinhalf-

towards the purest white,

It

is

placed in

ery in such a manner that the speed of

an etching mordant of Iron Perchloride.

production would compete with

tone,
late

between the grains of the shadows which will therefore have the greatest depth, and gradually works through the half-tones, only
begins to etch
first

and the quality absolutely annihialmost simultaneously, in vari-

it

Now

ous parts of the world, the process has

Incense

By

Francesca Bostwick

The Dance By Charles

B.

Denny

become a working
panying
this article

success,
is

and accom-

comes

in contact

with the paper which

is

a reproduction of

receives the impression. This paper

in
it

one of my prints, "Thames Barges", from the press of the Mezxogravure Company of London, whose methods of working are a carefully guarded secret and the result of much experiment and research.
Their gravures have
this,
all

a large roll and after the

passes over a

first

printing

warm

roller
it

which

dries

this impression so that

may be printed

on the reverse side. It is finally cut into sheets and piled for folding. This press
turns out prints at the rate of six thou-

the richness of a

hand-printed plate, and possessing besides

a

sand an hour.
In the June issue of "Pall Mall" Magazine was a special supplement printed
this process consisting of four of

new and very remarkable silk'like

due probably to

lustre in the high lights,

by

the great pressure used in printing.

my picEven

very beautiful process,

think you will

tures which, as reproductions,

compare

admit, which will revolutionise and even'

tually displace that of the half-tone.

very favorably with the

the text

originals.

was

printed in photogravure.

On the 7th of January of this year an English magazine, "Photography and

Focus", published an eight-page supple-

This

is

accomplished by setting up the

ment

in

machine printed photogravure.

it,

Just think of

eight photogravures for

a penny
used,

In this number the process

is

which

called "Rotogravure",
It

is

it, and laying down on the cylinder with the pictures. I have seen a copy of a daily newspaper printed in Germany by this method, with reproductions that put to shame the usual monstrosities perpe-

type, photographing

a resist of

it

described at some length.

has

much in

trated in this

field.

common with
variety,

the older hand -printed

And now, in conclusion, let me

this little

wish
pros-

with important variations, how

magazine long

life

and

ever, that

A
is

make rapid printing possible. number of gelatine resists are printbut the graining of the copper

perity. If it contains, as I

am sure it will,

something of the spirit of our good friend

ed from reversed positives as previously

related,

supplanted by the carbon tissue being

subsequently exposed slightly behind a

ruled screen. These resists are then laid

Clarence H. White, without whose example, sympathy and unselfishness "Platinum Print" would never have come into being, it will be worthy the support of all the friends of photography
as a

down on
is

a large copper cylinder

it

which

means of personal expression.

Bibliography

etched by revolving

in a tank of

acid.

The

cylinder
it

is

then placed in the

"A
Denison.

Treatise
Iliffe

on Photogravure",

by Herbert

press,

and there
ink
is

rotates

on

its

lower

&

Son, London.

surface against an ink -charged roller.

"Photo-

Aquatint

and

Photogravure",

by

The

"wiped"

in this case

by a

Thos. Huson.

Durban
(

& Ward,
ft'
'5)

London.

steel knife

or scraper before the cylinder

Continued on

THE PHOTOGRAPHIC REPRESENTATION OF MOTION

Paul
The
suggestion of motion
is

L.

Anderson
The draughtsman's
galloping horse
stance,
is

one of the

representation of a
in-

most interesting problems in the realm of photography, and at the same time, whether because of its difficulty or be' cause of lack of enthusiasm, is one of the most seldom attempted. This statement

the most familiar

and

we find that in showing this

any quadruped, at high
it

animal, or, in fact,

speed, the painter usually represents

with all four legs fully extended, or nearly

so, in

may seem

strange

when we consider the

the extreme positions, the front legs

all

number of speed cameras sold and the frequency of photographs of automobiles, aeroplanes, races, and other subjects pri' marily associated with the most rapid motion, but reflection -will make it clear that few of these photographs convey any sense of movement, their most noticeable characteristic being the inherent feeling of arrested motion.

forward, the hind legs to the rear, and

four feet off the ground.

The

analysis of

a gallop by means of the cinematograph shows that there is no such phase in the
gait,

and, in fact, such an attitude could

ani-

not be a phase of high speed, for an

mal which assumed

this

pose in traveling
says, " in

would be

going, as

Mulvaney

The
air,

aeroplanes are suspended in the

On observing a galloping horse, however, we find that the visual

standing leps ".

the trains are standing at rest and

impression of the average person agrees

puffing out clouds of

smoke

in a high

wind, the runners are frozen in strange

attitudes,

with the painter's representation, and the cinematograph shows that the positions
given are momentary poses of the
and, further, that they are
legs,

and the automobiles by some

magic trick are balanced on two wheels.

We

objects

know, of course, that the various must have been moving, for they
is

some of the positions of rest, the points where the forward motion ceases and the rearward begins, or

are obviously in unstable equilibrium,

the reverse.
is

The

conclusion

is

but this
ciation

merely an intellectual appreis

that the eye

too slow to appreciate the

and

not connected with feeling

intermediate phases,

when the motion is

atti-

except in a secondary manner.

rapid, and, consequently, seeing the legs

The subject in hand is too broad to be

treated fully in so short an article as the

only

when

at rest,

combines these

tudes into a visual impression, though

present one, but a

dicated,

few points may be

it is

in-

they neveractually occur simultaneously.

Similarly, in the case of a

and

as a first step

well to

running man,

consider the

way in which painters and

the representation usually shows him

balanced on one foot, the body leaning

sculptors have approached the problem.

Action By Henry Hoyt Moore

The Sunlit Wall By Charles H. Barnard

far

forward, and the other leg stretched

case of a slowly

moving

figure,

and

in

out almost horizontally behind, though

the camera shows no such pose, and here,
as well as in the case of the hurdler,

many instances

a snap-shot of a rapidly

moving person will be very full of action,

for example, a boxer at the instant of

we

have a convention added to the faulty

visual impression, for a runner, except in
starting, carries his

delivering a vigorous, straight blow.

illustrations of artificial aids

As

body nearly vertical.

draperies, as

have in the Nike of Samothrace

we

The
and

hurdler

is

shown with the body

bent forward, the forward leg extended

raised,

and Abastenia St. Leger Eberle's "Girl with Roller-Skate"; the forward bending body, as in R. Tait McKenzie's hurdlers; dust, as in

pointed
rising to

downward and

and the rear leg extended and back, though in

is

Demachy's "Speed";

a hurdle the body is almost if not

quite vertical, while the forward leg

which repeat in another key the movement of the principal object,

and
lines

bent at the knee and supinated from the

hip, so that the thigh points forward and
slightly up, the

as in Stieglitzfs
Dirigible".

"An Aeroplane" and "A

lower

leg pointing back-

An

interesting illustration of failure

is

ward and slightly down, and crossing the

body.

to observe correctly

to be found in

The

painter or sculptor often rep-

resents a walker in a pose

which does

not occur in Nature, Rodin's "St. John"

being

Kenyon Cox's book, "Old Masters and New". Speaking of Saint - Gaudens's "Sherman", the writer says; "The gait of
the horse
is only a fast walk," but on comparing the statue with Muybridge's

shown

in the act of striding for-

ward, both feet being flat on the ground,

a

most strained position for one

is

who

is

analyses of the gaits of the horse, as given

actually moving, and the Victory in Saint-

Gaudens's "Sherman"

also

shown

in

an exaggerated

attitude.

Dictionary", no such found in the walk, while the identical phase is found in the rapid trot.
in

"The Standard
is

phase

From all this we see that the visual impression of motion seldom agrees with

It is

apparent, even from these few re-

what the camera shows us, that the portion of a movement which we see is usually the pose which occurs at a point
of
rest,

and that there are various

arti-

ficial

aids to the expression.

We cannot

well show, by means of the camera, a

galloping horse with his legs at the points

of reversal, unless

we make a composite

is by no means a simple one, but it is equally true that it is one which will repay careful study and effort, and the best method of studying motion is by means of a cinematograph, supplemented, of course, by observation and by consideration of the works of well-known artists. Failing a motion-picture machine, which is too ex-

marks, that the problem in question

from several cinematograph negatives, but it is often possible for a man to assume an expressive pose, especially in the

pensive for the average amateur, a Graflex or Speed

Kodak
(

is

to be recommended,

Cvntinutd n page is)

MULTIPLE PLATINUM PRINTING

Karl Struss
In the development of platinum print'

most encouraging signs of its individuality and virility has been the latitude of the hand' coated
ing as an art, one of the

with the hand'eoated platinum process, and realizing its simplicity and permanence, have experimented along entirely new lines with gratifying success.

platinum

print.

The theory of multiple platinum print'

ing
is

As every medium of expression has its own characteristics, in like manner

does the charm of a platinum print con'
sist

quite simple, requiring but

little
:

practice to secure successful results

the
im-

idea being to superimpose image

on

of inherent qualities of tone grada'

occupies the position of an impor'

age (by repeated sensitizings, printings

tions, values, luminosity, color suggestion,

etc. It

tant contribution of a scientific era to art,

illustrating the

and developings) until the required depth of tone has been obtained. Strange as it may seem, altho repeated printings add
to the blacks, the print seems actually to
lighten,

modern point ofview, and

the control of the mind and eye over the cruder methods of the past. This applies

due no doubt to the lengthening

resulting increased contrast.
its

scale of tones or intermediate gradations,

not only to the platinum print but to the

color plate, wherein a degree of elusive

and the

Thru
that

lifeless

appearance, a print

luminosity and delicacy

is

is

obtained that

may look hopelessly impossible may

the envy of the modern painter.

often be brought to a successful issue

its

We find the platinum print taking

place

by

application of the strongest contrast

with other recognized media,

at

mixture.

By exposing

for the blacks

and

such exhibitions as were held at the

Albright Art Gallery at Buffalo, the

allowing the whites to take care of themselves,

more contrast may be secured, the

and
as-

Newark Museum
,

Association, Colum'

lighter tones gradually darkening

biaUniversity the Montross Art Gallery,

suming their proper

relation. It is prefer-

New York, and the Brooklyn Institute of

Arts and Sciences. With the development along pictorial

able to under-print, for

we

can always

re-coat, print and develop as often as may

be necessary, provided the whites are not

over-printed.

come an improvement in the quality of our prints, and this has been made possible largely thru the sue
lines,

there has

Each additional printing enriches

without giving the objectionable surface
texture common to a multiple gum print,

cess of multiple

gum and

multiple gum'

platinum printing.

and the

blacks, if so desired, will

have

However, within the last few years, workers, becoming more conversant

transparent appearance.

On

the other
in tone

hand, the print

may

be as

flat

A NINETEENTH CENTURY DREAM

PAGET PROCESS
for

Photography in Natural Colors

Duplicating

Method

Color Rendition Perfect

Manipulation Simple
Results Certain

Color Photography
Color Positives, Monochrome Prints and Brc mide Enlargements can be made from the original
negative,

which is preserved intact.

No unfamiliar

processes are involved and no unusual chemicals

are employed.

Anyone who can

develop a plate

can make a Paget Color Transparency reproducing

all

tones and shades as in Nature.

Write

for special booklet

&?

HERBERT

HUESGEN
City

CO.

456 Fourth Avenue

New York

A TWENTIETH CENTURY FACT

FOR THE WORKER IN PHOTOGRAPHY

This Magazine will surpass

its

own

record in 19 14

In no other Photographic Magazine can you find so much useful and original information by writers distinguished in their line, so much bright reading, and so many helpful examples of
practical

work.
latest

The

formulae and processes, and

all

the

news

$3.00 a year in advance

$1.50 for six months

Sample Copy, 10 cents

EDWARD
122 East 25th Street

L.

WILSON

CO., INC.

New York

City

Design in Nature By Edward R. Dickson

or as high in key as

may be
triple

required.

emersions,

it

has not been productive of

In

single,

double or

sensitizing,
is

such good
life

results.

My own preference
bond paper

is

before making the one printing, it

well

for a high'grade

possessing

to use the mixture best adapted to the

plate;

and snap

as well as

permanence,
after the

but in multiple printing this can

which should be dry 'mounted

final printing.
It is

be varied as

much

as necessary.

That

is

to say, if the original plate be

wanting in

a good plan to use enough sensi'

contrast, the strongest mixture could be

tizer to

soak thru to the other side of the

and if the print should then have black shadows and no detail in the high' lights, the next sensitizing should be with
used,

paper, in order to print thereon simply

by

reversing the plate.

this

Not only does double printing add to the quality of

the softer contrast mixtures.

the blacks, but

we

get double the effect

After the first printing has been developed, dried and re'sensitized,it is difficult
to judge the duration of the subsequent
printings. Experience alone will tell the

with but the one coating.

This reverse printing has
tages, especially
its

advan-

when
plate,

printing from an

extremely sharp

i.e.,

one made with

proper time; but by keeping a record of

the
first

a corrected lens: for the slight softening

printing

(which is judged like an

of the outline of the image due to the

space

ordinary platinum print) and by giving

between

film

and paper when

about one-half
be most
or sepia
first

this time, the results will

printed in the shade, gives a quality that

is

satisfying.

delightfully pleasing in its influence

on

Variations other than black and white

the image on the surface of the paper.

It is necessary, at times,

may be

secured

by developing

to size the paper

and white and adding a small quantity of mercury in the second

for black

before the last printing, in order to keep

the image on the surface and so add to the

liquid quality of the print.
I

stage of developing so that there

maybe

harmony with the original printing and greater warmth of tone. Should the tone
be too red, the black and white develop'
er

would not presume

is

to say that every

platinum print

a work of art.

The gov
is

erning impulse leading to a conception of

vision responsible for
its

may be used

for the third printing,

creation

of far

etc.

Numerous other possibilities, upon which I will not dwell in this monograph,
Just a

greater importance than

interpretation.

any medium of

will readily suggest themselves.

word

or

two

regarding the pa'

per stock to be used. Japan tissues

may

be successfully employed for the single

"Photo-Miniature" No. Reference 96. " Leaves from an Amateur's Notebook",

and double

coatings, but for multiple

printing, thru lack of

body

in the tissue

Published by Tenant

by Katharine Stanberry Burgess. fe? Ward, New

and continual shrinking from repeated

York.

PLATINUM PRINT
A JOURNAL OF PERSONAL EXPRESSION
Issued every other month: 7 times a year
Single copies,
15

cents

Canada, $1.25

Yearly subscription, $ 1 .00 Foreign countries, $1.40

Edward R. Dickson and Charles H. Barnard

Associate Editors and Publishers
2 East

Twentyninth

Street,

New York
insert,

The

entire contents of

"Platinum Print", including

have been copyrighted

publishers

and must not be used

in

whole or

in part except

by permission of the

EDITORIALLY EXPRESSED
The Origin and Intent
Born of enthusiasm, with a determination to publish but a few pages so long as the effort echoed, "Platinum Print", through the aid of a little band of workers interested in showing another phase of individual expression in America, becomes a possibility.

A
In
this

Demand
when
air,

era of evolution,

every breathing
liberty, the

thing seems to be standing and stretching and cry-

ing out for

more

space,

more

more

The
Its

frequency of
its

its

appearance will naturally

in a practical world.
;

of a few publishers and critics toward pictorial photography assume an amusing attitude. Often have they spoken of the impossibility to reproduce prints having subtle gradations and lines
insular ideas
less

be measured by

need

decisive than the conventional

type to which

name
its

is

a distinction

not necessarily an indi-

they have grown accustomed.

If an artisan

make

cation of

exclusive indulgence in platinum prints.

print's a print.
Its

ciples

attitude

ambition will be the encompassing of prinwide and unrestricted, and a declaration of the and aims of users of the camera.

an unfaithful copy from a given model, would you It an engraver etch an unblame the model ? faithful plate from an original print, has his skill

measured up
Certainly not

to the
!

standard of your requirements

Then,

too,

there

is

another

who

regards as an

The Invitation
The
carpenters have just
left.

intrusion the entrance of the pictorialist in the field

There

is,

in

conare

of illustrative him, he cries

art.
:

"
?

This

Spinning a silken shroud around is not within your province."

are not insensible to property

sequence, no fence around

us, for "all things

Why
rights.

the fear

We

now become common."

under which he may serve, the invitation to contribute is extended to him who is working intelligently toward the attainment of definite ends, whose desire it is to help in the quickening of public appreciation of that in which
Regardless of the
affiliations

In

this

instance,
;

however,

we do

not

recognize the ownership

since expressive force

believing broadly that

lies with the individual, no man's expression should bow to restriction because of a medium he has made subservient to him.

From
to

time to time

we

shall

show

in these pages,

we are The

all

engaged.
is

specimens of photography having inalienable rights

not

reader

invited,

only to use these

artistic

exactness and possessing as well, decofit

columns as a forum for the utterance of messages but as well, to express his in words or in pictures opinions of us and our efforts to hold his interest.
;

rative

qualities

to

meet the

practical

needs of

illustrative

work.

Especially
this.

would we have

the publishers

know

Let the work be new.

13

EXHIBITION NOTES
BROOKLYN INSTITUTE OF ARTS AND SCIENCES
Due to the liberal attitude and encouragement of its directors, the Photographic Department of the Brooklyn Institute of Arts and Sciences is able to announce an unusually interesting and comprehensive program which comprises, in addition to its regular classes, exhibitions by members and other well known workers who
have advanced the
pictorial rather

than the technical side of photography.

Loan Exhibition of Prints

October October
6
Karl Struss

20

Members of

the Dept.

November 3 November 17 December 1 December 15 December 29

Yarnall C. Abbot Jeanne E. Bennett

S.

January January February

26
9
23

Sidney Carter F. Holland Day

Chas.

February

Ema

H. Barnard Spencer

H.

Lifshey

March
April

D wight

9
6

Geo. H. Seeley

A. Davis Dr. Arnold Genthe

April

20

W. H. Zerbe' s Class C. H. White's Class

Demonstrations
October October
17
3
1

November November 28 December 1 December 26

W. H. Kent & W. H. W. E.
S.

Zerbe
Firth

Januarv Januarv February

9
23

R.

M.

Coit

Zerbe Macnaughtan

February
'

20
6

Zerbe Holden & Underhill W. H. Zerbe

Chas. B.

W. H.

H. Lifshey W. H. Zerbe

March March

Dennv
'

20

W. H.

Zerbe

Talks on Composition
October
24.
1

F.

Weitenkampt

February
April

3 3

Gertrude Kasebier
Clarence H. White

December

Otto

W.

Beck

Lantern
November
21

Slides
January
1

Orange Camera Club

Camera Club, N. Y.

New York

Society of Etchers

The Newark Museum Association

Newark, N.
J.

Arthur Covey, President Thomas Congdon, Vice-President Arthur Larned, Vice-President Harry Townsend, Treasurer
Earl Horter,
Secretary

Franklin Murphy, President

James E. Howell,
First

Vice-President

Charles Bradley, Treasurer

John Cotton Dana, Director

Supplementing their permanent collections
the

New
arts

York Society of Etchers,

workers

new

organiza-

Newark Museum
November
15,

Association will hold the follow:

tion including other

as

who employ
will

the graphic
its

ing special exhibitions

means

ot

expression,

hold

first

191

3.

Wood

Cuts by Helen

exhibition at the galleries of the Berlin Photographic

Hvde, Japanese and Mexican

January and February, 19 1 4.
a collection as

Scenes.

Company, 30; Madison Avenue,

January 6th to 3
1st.

New

York, from

German

Poster Art,

arranged by Brentano, N. Y.

14

CONTENTS
Of Volume
Photogravure
. .

Columbia University
I

Number

School of Practical Arts, Teachers' College

New
Announce
Clarence
for

York

By Alvin Langdon Coburn Bv

Paul L. Anderson
.

the season

Photographic Representation of Motion

1913-1914
Photography.

the

re-

sumption of the afternoon and evening lectures by

H. White on Art

in

Multiple Platinum Printing

Prints

By

Karl Struss

The
of

course embraces laboratory and field work,

together with practical demonstrations in the coating

Cover Design
Incense

Bv Clarence H. White By Francesca Bostwick By By

Charles B.

paper and other photographic processes.

The Dance
Action

Denny

By Henry Hoyt Moore

Charles

The Sunlit Wal;

Design in Nature

H. Barnard

The Photographic Representation of Motion

(

By Edward R. Dickson
By Alvin Langdon Coburn
and patience
is

Continiurf from page q)

Thames Barges

(Insert),

imperative, for the failures will far

outnumber the
from

successes, but these latter will, partly

their rarity

and partly from

a source

their great vigor

satisfaction.

Our
tions in color,

and impressiveness, be

of lasting

Prints
as

Substituting the gradations of tone for combina-

and having

their

basis, selections

Bibliography
(C..i. l/r,.
I

made

in an appreciative

sense

of

fitness

to

artistic

Wj
of

-)

requirements,

the

reproductions

in

this

issue

are

"Photogravure", by

W. T.
series

Wilkinson.

IlifFe

offered as the deliberate accomplishments of those

&

Son, London.

who, whether working

interior or that

in the modified light

of an

"Photogravure".
Process Photogram
' '

articles in

"The W.
J.

of the vast out-of-doors, have sought

to

for July,
J.

August, September

the radiance of sunlight

reveal,
at

by

aid

of the

and October,

1907, by

Threlfall and

camera, interpretations that are

decorative in character.

once personal and

Smith of the London County Council School of

Photo Engraving.

"Photogravure

for

Amateurs".
8th and

A
2 2d,
1

series

of

International Photographic
Exhibition

articles

in the

"Amateur Photographer"
1st,

for

Janu-

ary

25th,

February

9 10, by

To
The
will

be held
Fifth

at

the Ehrich Galleries

R. G. Rolfe.

707

Avenue,

New

York

Ehrich Galleries will hold during the month

of

The
291

Little Galleries
Avenue,

of January an exhibition
include the
prints

photographic

art

which

Fifth

New

York

of Foreign and American

The
Little
ties.

forthcoming winter season will find

'

"The
:

workers.

Galleries

'

continuing their interesting activi-

Dates and information

will

for

prospective exhibitors
issue.

The

following exhibitions are scheduled

Prints,

appear

in

our

December

Photographic

by Annie
Frank

W.

Brigman,

Eduard
If vou

J.

Steichen

and

Eugene.

The

want the next

to

issue

of

" Platinum
at

Print"

paintings will include the

work of Marsden Hartley,

you are advised

send in your order

once and

Arthur G. Dove, A. Walkowitz, Manolo, Kandinsky and Frank B. Haviland.

so avoid possible disappointment.

15

PLATINUM PRINT
WILL BE ISSUED AGAIN IN DECEMBER
The
reproductions will be from prints by

Wm. E. Macnaughtan

Jeanne

E.

Bennett

Augustus Thibaudeau Arthur D. Chapman George H. Seeley Paul L. Anderson Karl Struss (Insert)

Among the

articles will

be

"The Filling of Space" by Max Weber "The Corrected Lens in Pictorial Work" by Samuel Holden

The
later

latter

being the

first

of a series to be followed

by "The Partially Corrected Lens in Pictorial Work" by another writer. Our plans include articles on such subjects as:
"Illustration of Books and Magazines by Photography".
"Still Life".

"Photographic Art in Advertising". "The Harnessing of Sunlight". "The Practical Application of Pictorial Photography". "Artistic Photography in America".

For reproduction we shall prefer prints having newness

of conception as well as the retention of photographic
qualities.

Prints

by new workers

will be

welcomed.

Bartlett-Orr Press.

New York

AN ADVERTISEMENT
No
solicitation

was made

for advertise'

merits in the present issue.

We

wished to

wait until we

knew how "Platinum Print"

advertiser.

would be received; and to be able to guarantee

enough circulation to interest the
from
all

Our announcement brought many letters

over the United States and Canada
containing subscriptions and encouragement
for future support.They are from enthusiastic

workers of the highest type, using the best

materials that

come

to their notice.

Those
fresh

who wish to
The rates

talk to

them through the

us.

pages of "Platinum Print" will be welcome.

are low.

Ask

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