File:The American annual of photography (1914) (14777055881).jpg

Identifier: americanannualof28newy (find matches)
Title: The American annual of photography
Year: 1914 (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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ule, and yet he undertakes themost complicated chemical reactions—toning for instance—without a qualm, in blissful ignorance and falls through it withmore or less success, while with regard to optics—or lightvalues—or orthochromatics—or anything scientific whatever,he generally displays the most utter ignorance, and I haveheard many statements made before camera clubs, and socie-ties, with regard to optical and chemical problems, that anycollege freshman would be able to attack, and defend hisstatements. Statements made in all seriousness, with regardto lenses, that any high school pupil would know were false—statements made about chemicals that were simply a joke, andpoints made in talks on art and composition, that explain whythe artist generally says a photograph is not art. I do notblame the artist a great deal although I do not altogether agreewith him. But—right here—most of the work that is acceptedby the artists themselves—is work done by the advanced ama- S6
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0) C N o u(d o < HHOU h-103 teur, the man who is a good photographer and who is nottoo stubborn, lazy or stupid to learn new things. Lightingsare made in the same old way—plates are of the same oldquality, prints and methods are the same, and the demonstratorhas all his work of showing the dark-room man or the printer,all that he does with the idea of getting better prints—he seesthis all go to waste, and the operator go back to his old way,the next day. The whole trouble with all of us, from thesnapshot man to the man who has a whole case full of medals,is just this in two words—we do not knozv our business andwe are to lazy to learn it. Its easy enough to get a crowd ofenthusiasts to go out and take pictures and its not hard to getthem to watch somebody else demonstrate new processes tothem, but try to get five out of a hundred to sit down andlearn why his plate is sensitive to light, what kinds of light itis sensitive to, and why the image develops, or to study alittle ele

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