File:The American annual of photography (1914) (14780488705).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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s League. Although noneof them is an expert of composition (in the sense ofGerome) they all see things with the artists eye, which is anentirely different thing than the vision of the average pho-tographer. The shortcoming of most photographic practitioners is notonly that they lack the skill of handling the tools of draughts-manship and painting, but that they do not see enough of artexhibitions and publications, and that they do not ventureforth into life and study nature and human society in itsvarious aspects and pictorial phases. They fail to train theirown eyes sufficiently, as they rely too much on their thirdadditional eye, the lens, which is a mere recorder. The manwith an artistic education starts with a tremendous advantage,and McGeorge is really one of the few photographers I havemet who can paint. Of course this knowledge also has its drawbacks. Thephotographer with his artists temperament will scarcely everbecome a perfect technician. He is too impatient and for that 170
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Figure 2.THE CRITIC. Illustrating Article The Photographer with an Artists Temperament, by Sidney Allan. reason will be at times careless and neglectful. And mostassuredly he will be guilty of some inefficiencies from thebusiness viewpoint. But the latter is neither here or there,as it is a faculty which has nothing to do with photography,either as an art or profession. McGeorge is fond of experimenting. Face to face with asitter he experiences the fever of the artist for pictorial inves-tigation. To make an exposure is to him what a sketch isto a painter. He may carry it out in Ozotype enlargements,or he may not. Many technical details may be neglected, butnever the composition. Look at his Gentleman Reading (Figure 3.) how well thesitters occupation is carried out in the expression of the faceand hands, and how the tiny shadows of pure white of thecollar, tie and vest produce a color note. His detail of linearrangement, although the latter scarcely aspires to the beautyof line for l

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