Paul Lewis Anderson

The American annual of photography (1922) (14595005609).jpg

Identifier: americanannualof36newy (find matches)
Title: The American annual of photography
Year: 1922 (1920s)
Authors:
Subjects: Photography
Publisher: New York : Tennant and Ward
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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ve the dull surface of platinum or the lustreof carbon; we may even vary the texture in different portions 154 of the print. Briefly, there is no other process which offers somany advantages as oil, the sole drawback being the compara-tive slowness of production. But if one lion is better thana hundred jackals, we may fairly say that one fine print isbetter than a hundred mediocre ones, and we will choose oilfor the rendering of our negatives. So the photographer, whether amateur or professional, whotakes up outdoor portraiture for the first time will find him-self led to a most delightful experience, provided he will re-member two things. First, not every subject can be renderedoutdoors; and, second, he must approach literally every subjectwith an open mind, free from preconceived ideas. Given thesetwo facts, and the technical skill to handle his instruments,there is every reason for him to expect a higher percentageof pleasing results than if working in either the home or thestudio.
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OUTDOOR PORTRAIT. PAUL L. ANDERSON. 155

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The American annual of photography (1922) (14594954530).jpg

Identifier: americanannualof36newy (find matches)
Title: The American annual of photography
Year: 1922 (1920s)
Authors:
Subjects: Photography
Publisher: New York : Tennant and Ward
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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crudely sensitized, and requiring long ex-posures ; and the printing mediums available were so crudethat it is only with the development of such processes as photo-gravure and gum-platinum that the full merit of Hills workhas been appreciated. In consequence of the primitive char-acter of Hills materials, his exposures ranged in the neighbor-hood of four or five minutes, and to secure full exposure evenwith this long time he was obliged to pose his sitters out ofdoors, generally in a full blaze of direct sunlight. With the development of faster lenses and more rapid platesphotography, so far as portrait work is concerned, became anindoor sport, and when some unthinking copy-cat built him astudio with a north sky-light the path first traveled by Hilldeteriorated into a little-used trail; gradually the convictiongrew among photographers that the place to do portrait workwas in a studio, and it was many years before the daringamateur rushed in where more experienced workers feared to 146
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OUTDOOR PORTRAIT. PAUL L. ANDERSON. 147 tread, and proved that equally good—and often better—por-traits could be produced in home surroundings. Even yetthere is a feeling against doing portrait work outdoors, andthe writer has heard a well-known photographer declare flatlythat it was impossible to produce satisfactory portraits in anoutdoor light. It is by no means impossible to do so; Hill proved this con-clusively, and a few more recent workers have added to hisoriginal demonstration, but it remains somewhat more diffi-cult. It is, however, unquestionably the case that in many in-stances outdoor portraiture shows a quality which is utterlyunobtainable indoors, and is therefore more satisfying. Thewriter does not mean to claim that all portrait work shouldbe done outdoors; the home and the studio both furnish satis-factory settings, and magnificent work has been done in bothplaces, but he does mean to say that it is a mistake for cameraworkers to confine themselves within four wa

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The American annual of photography (1919) (14782348852).jpg

Identifier: americanannualof3334newy (find matches)
Title: The American annual of photography
Year: 1919 (1910s)
Authors:
Subjects: Photography
Publisher: New York : Tennant and Ward
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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would point out the dangersinherent in each of these attitudes of mind, the tendencieswhich are likely to minimize the artistic effect of the resultssecured. The danger of the first school has been already sug-gested ; it lies in the fact that the worker may become inter-ested in pure estheticism and, finding it easier to secure aneffect thus (for pattern and print quality and texture mayreadily be learned) may be reluctant to make the effort ofimagination requisite to pictorial effect, and may come to relyexclusively on the sensuous appeal of a beautiful print, thusplacing himself in the class of literary stylists who saynothing, very beautifully. On the other hand, the one whois concerned for pictorial effect, for the conveying of an idea,may too easily come to despise esthetic merit, and may eventu-ally find himself in the position of one who, having a messageto give, is unable to deliver it because he does not know thelanguage. The best way to guard against either of these faults
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CO WW HW OhPh< 67 is to cultivate a sincere and honest interest in the work of mem-bers of the other school, trying to see the merits even in workswhich do not, as a whole, appeal to the student consideringthem. Taking up now the question of apparatus, we may say thatbut few pictorialists, of either class, will voluntarily work witha camera which lacks a focussing screen. Some indeed, afterconsiderable practice, will be content to do so, but, as a rule,the miniature cameras, folding film instruments, and the like,will be employed only for record work, when traveling, and soon, for the convenience of a ground-glass the size of the fin-ished print is undeniably great. To the worker who aims atestheticism the inversion of the image on the screen of theview camera is a defect of no importance—it may, in fact, bea help, since pattern is then considered apart from any dis-turbing influence of pictorial effect—^but to the worker whoaims specifically at pictorial results, at the convey

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The L Road, Winter, by Paul L. Anderson.jpg
View of the L in New York in a snowstorm, by Paul Lewis Anderson

The American annual of photography (1919) (14780345384).jpg

Identifier: americanannualof3334newy (find matches)
Title: The American annual of photography
Year: 1919 (1910s)
Authors:
Subjects: Photography
Publisher: New York : Tennant and Ward
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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About This Book: Catalog Entry
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^ (which, of course, arethe same as those of the 6j^ x 8^). But this plate is rathersmall for ready field work, and the writer prefers to accept theslightly unsatisfactory proportions of the 4x5 for the sake ofthe increased ease in the field and in selecting from amongthe proof prints, as well as for the reason that one often wishesto make permanent and esthetically pleasing prints from nega-tives which do not, on the whole, merit enlargement; there aresubjects one wishes to preserve for their sheer sensuous beauty,even though they may carry no message, may possess noemotional quality. So the writers conclusion is that for the 70
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O 71 pictorialist of the second class no better instrument is avail-able in this country (though there are better ones made inEngland) than the 4x5 long focus revolving back Graflex,and it is with a camera of this type that 99% of his presentwork is done, the 8 x 10 view camera and the 4^4 x 6j^ Kodakand the 6j^ x 8^ Century being called into service only on rareoccasions. With regard to the lens, the writer has experimented withevery type of objective available in this country; with rapidrectilinears, anastigmats, single achromatic, portrait lenses, andwith every make of soft-focus objective, and has reached twoconclusions as a result. The first is that it is better to employa soft-focus lens in making the original negative than to makethe original sharp and depend on subsequent manipulations fora pleasing diffusion; the second is that he prefers the Strusssingle lens to any other. This objective is extraordinarily light,which is no small matter in field work; its quality of diffusio

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