Pictorial Photography in America 1921

The Project Gutenberg EBook of Pictorial Photography in America 1921 by Pictorial Photographers of America This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Pictorial Photography in America 1921 Author: Pictorial Photographers of America Release Date: February 8, 2009 [Ebook #28023] Language: English Character set encoding: UTF-8 ***START OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1921*** Pictorial Photography in America 1921 Pictorial Photographers of America New York 1921 _Editorial Board_ CLARENCE H. WHITE HENRY HOYT MOORE DWIGHT A. DAVIS JOHN PAUL EDWARDS _Committee on Publication_ HENRY HOYT MOORE WALTER L. EHRICH RAY GREENLEAF JOHN A. TENNANT ILLUSTRATIONS THE HAMPTON SINGER _By _DOROTHY ABBOTT, _New York City_ THE ARCH OF JEWELS, NEW YORK CITY _By _WILLIAM A. ALCOCK, _New York City_ WILLOW VALLEY _By _CHARLES K. ARCHER, _Pittsburgh, Pa._ PRAYERS OF BUDDHA _By _F. BAUER, _San Francisco, Cal._ THE SWANS _By _JESSE TARBOX BEALS, _New York City_ ABOVE THE CLOUDS _By _CLARK BLICKENSDERFER, _Denver, Colo._ GRAMERCY PARK _By _MARY F. BOYD, _Chambersburg, Pa._ HILL TOP—WINTER _By _GEORGE BUTLER, _Worcester, Mass._ WEISSTHURM—ROTENBURG O. TAUBER _By _A. D. CHAFFEE, _New York City_ CABLES _By _ARTHUR D. CHAPMAN, _West Hoboken, N.J._ BOOKPLATE _By _ALFRED COHN, _Brooklyn, N.Y._ THE BUGLE CALL _By _DWIGHT A. DAVIS, _Worcester, Mass._ THE BRIDGE _By _JOHN PAUL EDWARDS, _Sacramento, California_ MY FATHER _By _VERNON E. DUROE, _Brooklyn, N.Y._ MAIDS O’ THE MIST _By _MR. AND MRS. J. D. DREW, _Montclair, N.J._ AFTERNOON TEA _By _ELEANOR C. ERVING, _Albany, N.Y._ SUMMER PORTRAIT _By _LAURA GILPIN, _Colorado Springs, Colo._ SUNLIGHT—TAOS _By _FORMAN HANNA, _Globe, Arizona_ DICK’S STALL _By _G. W. HARTING, _New York City_ BETH-EL _By _EDWARD HEIM, _New York City_ THE TOILERS _By _EUGENE P. HENRY, _Brooklyn, N.Y._ ARCHES OF THE MUNICIPAL BUILDING _By _ATOINETTE B. HERVEY, _New York City_ MORNING—PLYMOUTH _By _LILLIAN M. HOBART, _Northborough, Mass._ LAST OF THE SQUARE RIGGERS _By _G. BUELL AND HEBE HOLLISTER, _Corning, N.Y._ WAR VETERANS _By _MILLIE HOOPS, _New York City_ STILL LIFE _By _D. S. HORNE, _Princeton, N.J._ THE SUNSHINE OF JOHNNIE’S SMILE _By _ROBERTA HOSTETLER, _Davenport, Iowa_ SUN DRYING _By _H. A. HUSSEY, _Berkeley, Cal._ PORTRAIT _By _DORIS U. JAEGER, _New York City_ THE PIPES OF PAN _By _MYERS R. JONES, _Brooklyn, N.Y._ IN AN ITALIAN VILLAGE _By _H. A. LATIMER, _Boston, Mass._ CROW’S NEST RESTAURANT _By _SOPHIE L. LAUFFER, _Brooklyn, N.Y._ THE QUARRY _By _GEORGE P. LESTER, _Bloomfield, N. J._ DETAIL OF CALIFORNIA BUILDING _By _FLORENCE BURTON LIVINGSTON, _Mohegan Lake, N.Y._ SUNBEAMS _By _BEN J. LUBSCHEZ, _New York City_ ALONG THE CANAL _By _WILLIAM ELBERT MACNAUGHTON, _Brooklyn, N.Y._ SPRING _By _HOLMES I. METTEE, Arlington, Md. SYMPATHY _By _HERVEY W. MINNS, _Kenmore, Ohio_ THE MEADOW _By _ROBERT B. MONTGOMERY, _Brooklyn, N.Y._ THE RAILWAY STATION _By _HENRY HOYT MOORE, _Brooklyn, N.Y._ CULTIVATING _By _L. POKRAS, _Brooklyn, N. Y._ PORTRAIT—MISS F. _By _ARTHUR RACICOT, _Quantico, Va._ TO THE UNKNOWN SHORE _By _LAWRENCE C. RANDALL, _Columbus, Ohio_ THE EAST RIVER _By _D. J. RUZICKA, _New York City_ CLOSING OF AN AUTUMN DAY _By _J. G. SARVENT, _Kansas City, Mo._ THE VANISHING ROAD _By _OTTO C. SHULTE, _San Francisco, Cal._ THE HOUR OF TWILIGHT _By _WILLIAM GORDON SHIELDS, _New York City_ A SONG _By _GUY SPENCER, _New York City_ OPEN-AIR PULPIT, GRACE CHURCH _By _ELIZABETH G. STOLTZ, _Marion, Ohio_ L’ENTRE’ACTE _By _MANKICHI SUGIMOTO, _New York City_ FARMYARD _By _GEORGE P. SWAIN, _East Orange, N.J._ CARLOTTA _By _LACY VAN WAGENEN, _Orange, N.J._ MRS. PICKFORD _By _MABEL WATSON, _Pasadena, California_ THE LITTLE ART SHOP—WOODSTOCK _By _ANTHONY J. WEIS, _New York City_ THE DANCE _By _DELIGHT WESTON, _Blue Hill, Maine_ SISTERS _By _CLARENCE H. WHITE, _New York City_ SAND DUNE _By _MILDRED RUTH WILSON, _Flushing, Long Island_ Advertisement: Pinkham and Smith Company Advertisement: Eastman Kodak Company Advertisement: Ansco Company Advertisement: Ica-Contessa Advertisements: Kalogen; Willis and Clements Advertisements: Japan Paper Company; George Murphy, Inc. Advertisements: Fred’k W. Keasbey, Abe Cohen’s Exchange Advertisements: Wollensack Optical Company; Willoughby’s CONTENTS PAINTING WITH LIGHT THE YEAR’S PROGRESS HOW WE MAKE OUR PHOTOGRAPHS PAINTING WITH LIGHT _By _ARTHUR WESLEY DOW _Professor of Fine Arts in Teachers College, Columbia University_ The painter need not always paint with brushes, he can paint with light itself. Modern photography has brought light under control and made it as truly art-material as pigment or clay. The old etchers turned chemical action to the service of Art. The modern photographer does the same, using the mysterious forces of nature as agents in making his thoughts visible. It’s a long story of effort and experiment since someone observed that an inverted landscape on the wall of a darkened room was painted by light coming through a hole in a shutter. The shutter and the dark room are still acting, but now we can hold the fleeting vision. While we rejoice in the triumph of Science it is the triumph of Art that concerns us most. The photographer has demonstrated that his work need not be mechanical imitation. He can control the quality of his lines, the spacing of his masses, the depth of his tones and the harmony of his gradations. He can eliminate detail, keeping only the significant. More than this, he can reveal the secrets of personality. What is this but Art? Just here we must remember that neither light, nor chemicals, nor camera, nor nature tell us anything of Art—that Art is not the child of Knowledge or Science or Nature, but is born of trained Appreciation in the soul of man. He that would paint with light must be first of all a Designer. His chief concern will be to find and use his own powers of choice and appreciation. He will need the studio more than the laboratory. “What is Design?” Ask Korin, Hiroshige, Giotto, Rembrandt, Titian; ask the master-photographers who can build harmonies of line and space and texture. But the secret is not revealed by asking, only by DOING. THE YEAR’S PROGRESS _By _CLARENCE H. WHITE _An Interview with Henry Hoyt Moore_ “What notable events, Mr. White, have occurred in the photographic world during the year 1920?” “Perhaps no outstanding event, either on the art side or the scientific aspect of photography, has marked the year. A steady progress, however, in the direction of a better appreciation of photographic art is apparent. This is seen, for one thing, in the numerous exhibitions that have been held. Confining our attention to American exhibitions, I would remark that instead of, as in former years, having one big exhibition in Baltimore or Philadelphia or some other city, there are now active centers all over the country—there is a regularly established international salon in Los Angeles, and the well-known Pittsburgh Salon, and regularly established exhibitions in Portland and Toronto. There are groups of enthusiastic workers in all these centers. There are also exhibitions of photographic art regularly held in many of the museums of the country.” AMERICAN PHOTOGRAPHERS SET THE PACE “I once heard a well-known photographic worker say, ‘If you have any doubt as to the pictorial quality of a photograph, send it to the London Salon and their judgment will decide for you.’ Is this still true?” “I still feel that the American photographers set the pace, and in this connection I would like to read you this letter from the Secretary of the Royal Photographic Society of Great Britain as indicating the appreciation in England of American pictorial work: 35 Russell Square, London, September, 1920. I am happy to say that we have received from the United States and Canada a collection of pictorial photographs of such outstanding interest that the task of discrimination became one of great difficulty. Those selected by the judges have been placed in the exhibition, but the Council of the Society feel that it would be most unfortunate if the collection generally could not be viewed by the English public, and it is proposed that the bulk of the American and Canadian pictures, including those shown at the Annual Exhibition, should form one of our house exhibitions and be open to the public during the last part of January and the beginning of February, 1921. J. MCINTOSH, _Secretary_ THE SOFT FOCUS LENS “What changes in the past twenty years, Mr. White, would you say have been most noticeable in photographic work?” “Well, I would say the most noticeable is what we call the use of the soft focus lens. Secondly, I would say another noticeable change is the better general quality of photographic work. I feel that the photographers of today have a better idea of picture construction.” “Would you say that one of the changes in the past twenty years is in the spreading of a knowledge of pictorial photography throughout the country?” “Very definitely so. The interest in pictorial photography twenty years ago was confined to a small group. There are now groups in various centers as large as the national group of the early days.” NO ONE LENS IS SUFFICIENT “Getting down to a practical question for a moment, Mr. White, do you recommend a soft focus lens for small cameras, the work to be enlarged with a sharp lens, or do you recommend the reverse process?” “I still keep to my original statement that I made two or three years ago that I do not believe that any one lens will serve all purposes. I sometimes feel that an anastigmat lens is best and sometimes that a soft focus lens is best for some particular work, and sometimes I feel that if I could get only one I would prefer an anastigmat to a soft focus.” SOFTNESS DESIRABLE, NOT FUZZINESS “Is there a tendency, as shown in the work seen in the magazines, the exhibitions, and the photographs selected for the present _Annual_, to get rid of fuzziness and substitute a rational degree of softness and atmospheric effect?” “I would say that the reproductions that we see in the magazines do not in all cases represent lens work but, I fear, bad printing sometimes. There is often a good definite quality in soft focus lens work that looks very definite indeed, even more definite than a sharp lens will give. Fuzziness is bad, but not softness. The soft focus lens seems to be more popular than ever and it apparently has come to stay.” PROFESSIONAL PHOTOGRAPHY INFLUENCED BY THAT OF THE PICTORIALIST “Has the professional photography of today been influenced, in your judgment, by the work of the pictorialists?” “Yes, very decidedly, and the professionals confess it. The best professional photographers freely admit that they have drawn much inspiration from the pictorial workers’ ideas.” THE POPULAR MEDIUMS “What medium—gum, multiple gum, bromoil, platinum, bromide, chloride—is most popular today?” “Bromide and chloride are the most popular. That this is so is probably because they are easier to use; but there are very earnest workers—some of the best—who insist on using the processes which give a greater range and greater possibilities of quality, such as bromoil, gum, and gum platinum. I would say that these processes are more popular than they used to be.” COLOR PHOTOGRAPHY “Has color photography made any advance during the year? Are autochromes still popular? Has any progress been made in the direction of producing color photography on paper?” “I do not know of any special progress in this branch of the art. Color photography on paper has been worked out successfully by Mr. Ives, and I think the difficulty in obtaining materials has temporarily affected the popularity of color photography in this country.” “Is the color process used to any extent for portraiture in the United States?” “I do not think it is used to any great extent, but I believe that it has great possibilities and that it can be used if workers will take the necessary care and pains. I think the difficulty of getting material recently has set things back along this line.” THE “SECRET” IS THE ARTIST “Have the so-called pictorial photographers any ‘secrets?’ People often ask, ‘How are these effects produced?’ What is the best method of producing soft, atmospheric pictures? Can a skilled worker take an ordinary hard negative and, by suitable manipulation or the use of soft paper, produce an atmospheric print? Is the medium the secret? Will one paper or developer produce soot and whitewash effects and another a picture? Are soft effects generally produced by manipulation in developing negatives or prints?” “I believe the quality of a picture is not due to the medium by which it was made. It depends entirely on the man who made it. I think one man can make a good print on soft paper and another a good print on hard paper. I do not think the medium makes the picture. I think the medium produces the picture to some extent, but it does not make the picture.” HAND WORK VS. STRAIGHT PRINTS “What are the limits of hand work that are legitimate in photography? I don’t like to use the word faking, but most people would so describe it. I mean, for instance, putting in skies, blocking out obtrusive backgrounds, sunning down high lights, retouching negatives, printing through prepared masks that entirely alter the negative, and pencil or air brush work on prints?” “I do not have any objection to anybody using any methods that he pleases providing that the result is convincing; and I believe that practically every one of these means has been used successfully, in making pictures. On the other hand, some of the best and probably more good pictures have been produced by not using any of them—that is, by making the picture straight.” COMMERCIAL POSSIBILITIES FOR PICTORIAL WORK “Are there commercial possibilities at present for pictorial photographers? Has the public shown an increasing desire to buy soft focus pictures? Is there a demand on the part of magazines and newspapers for pictorial work?” “There is a very definite demand on the part of both magazines and newspapers for soft focus pictures. In fact, sometimes the art editors, in their eagerness to get soft focus work, will buy a photograph because it is fuzzy, without regard to its quality. But the outlook for the pictorial worker in its financial possibilities is steadily improving.” AIRPLANE PHOTOGRAPHY “Has any pictorial work been done in connection with airplane photography? Is the apparatus for this sort of work too expensive for anything besides military or movie use?” “At present I do not know personally of any pictorial work being done in this direction, but I have seen reproductions in newspapers of pictures from airplanes that show most interesting results. Airplane photographers as a rule do not as yet put into their work a marked pictorial quality.” ELABORATE APPARATUS NOT ALWAYS NECESSARY “Have any notable inventions marked the year? Is the photostat coming into use and has it any value other than commercial? Do you recommend one of the new high-priced enlarging cameras, which focus the lens automatically on any size of paper, as suitable for clubs to purchase?” “Well, I must confess that I have only heard of it, and the price seems to be such as to discourage almost all the pictorial workers that I know. In my observation of the work that has been done by pictorialists, the very fact that in many instances they use makeshift apparatus has resulted in some of the most beautiful effects in their work. Good apparatus is of course desirable, but there are happy accidents with the other sort. It is the workman, not his tools, that counts. Get the best tools if you can afford them, but remember that you can make just as bad pictures with an expensive outfit as you can with the cheapest.” HOW MR. WHITE JUDGES A PHOTOGRAPH “Many persons would like to know, Mr. White, what are the criteria used by advanced workers like yourself in judging a photograph. Do you allow so many points for composition, for technique, for originality of conception, or for success in a difficult medium? Or do you say, ‘That picture pleases me, and I vote for it,’ without attempting to state in mathematical form the qualities of its success as a picture?” “I would say that the first thing a man should do in judging pictures is to answer the appeal of the picture. I think a picture should have a message—that is, it should convey, not necessarily a story, but something of the feeling of the man who produced it. This is really a difficult question to answer. I would say, ‘That picture pleases me and I vote for it.’ That is to say, so many points for technique and so many points for pictorial quality would mean nothing to me. I would insist that a picture have an appeal, and then that it have good construction, and it should have quality. The printing medium, as I have said, doesn’t make the picture, but the man who uses it.” MOTION PICTURES AND THE SOFT FOCUS LENS “Probably photography’s greatest activity at present is in the motion picture field. Have soft focus lenses been used for producing screen plays and with what result?” “Soft focus lenses are being used in motion picture photography, but I am doubtful as to their success in the way they are being used at present—a somewhat haphazard way. You are too conscious of the soft focus lens and of the anastigmatic lens. That is, one part of the picture is made with a soft focus lens and one with an anastigmatic. I believe that the soft focus lens can be used, and will be used, in such a way as to give beautiful results on the screen.” IS PHOTOGRAPHY TO REMAIN A BLACK AND WHITE ART? “What forecast, Mr.White, do you make of future developments in photography? Is it to remain a black and white art, or are photographs in natural colors to supersede the familiar photograph of the present day in our exhibitions and in our homes?” “I think that the fundamental expression of photography is in black and white, and as we develop what I would call the definite photographic quality, black and white will maintain its present ascendency.” “But don’t you expect the art to develop in different directions from what it is today and what it has been in the past?” “I think it will develop especially in a more marked sense of picture construction.” * * * HOW WE MAKE OUR PHOTOGRAPHS _Methods of Several Representative Workers in Pictorial Photography Are Given Below. Their Pictures May Be Found on the Pages Indicated_ DR. CHAFFEE TELLS HOW HE MAKES BROMOILS—WITH RESERVATIONS _See __Weissthurm_ Rothenburg o. Tauber, today a mediaeval town surrounded by its ancient walls and towers, possesses relics of yet earlier fortifications within the present ones. One of these relics is the so-called Weissthurm, still dominating the narrow streets that lead to it and the old houses that have attached themselves to its base. The print is a bromoil transfer upon English crayon paper from Wellington smooth ordinary (pre-war variety). The negative was made with a Goerz Dagor lens in a Lancaster reflex upon a Seed Ortho L plate. The further data which all careful workers are supposed to keep were not made and can there fore unfortunately not be furnished. A. D. CHAFFEE. EVADED THE STATUTE, BUT MADE A PICTURE _See __Cables_ “Cables” is the pictorial result of several months’ study of the Brooklyn Bridge towers. When I found the composition I wanted, the rest was easy. Except for the police. To a Bridge policeman anything on a tripod is a movie camera, and that means: “Some guy’s gonna jump! Where’s he at?” I evaded, not the law, but the majesty thereof—and with an 8×10 view camera. The light was bad. (My lens would give an optical savant brain fever; I designed it myself.) I used the rising front to the limit, and stopped down to F:11 to cover the plate. Result, under-exposure, at one-sixtieth. I developed first in Rodinal, 1:120; then finished in Rodinal 1:30. Stanley plates can endure much cruelty. The print for reproduction is made on matte Azo, soft, using strong M.-Q. developer. ARTHUR D. CHAPMAN. A FEW BELIEFS OF A NEGATIVE TENDENCY _See __The Bugle Call_ I believe that the data of camera, plate, lens, exposure, paper, etc., have no essential value as aids in pictorial photography. That pictures are made with the camera by feeling alone. The selection of the subject, the lighting, the composition, the exposure and development, and the after-treatment and selection of the printing medium, are all a matter of feeling. That the rules of technique once learned are all practically violated in the making of the plate and in the production of a print, according as the artist feels his subject and as he wishes to reproduce that feeling. In that way only can the individuality be attained which is the keynote of picture-making. DWIGHT A. DAVIS. PHOTOGRAPHING ON A RAINY DAY _See __Maids o’ the Mist_ This picture was made with a vest pocket kodak fitted with a Goerz Dagor F 6.3. It was a rainy day and the camera user made his exposure under an umbrella. The film was enlarged to 6½×8½ on Illingworth De Luxe paper, cream-colored stock, imported from England—took about three months to get it. MR. AND MRS. J. D. DREW. HOW A “REMBRANDT” WAS MADE _See __My Father_ The original negative of my father was made with 5×7 Graphic camera and a Standard Orthonon plate, using a Busch Omnar F 4.5 of ten-inch focal length, at full opening. A hazy day in the country, the ground covered with snow, a south window shaded by a veranda and my father seated in front of the window about four or five feet from it, explain the lighting. No reflector was used. Camera was moved to get the desired light. Knowing him, I caught him in a favorite chair and in a characteristic position. To subdue the detail of the door and wall behind, but to suggest the depth and atmosphere of the room and to give all the lines and modeling of the face, an enlargement was made on an 11×14 sheet of P. M. C. No. 8 Bromide paper, and this was carefully inked, using the copper sulphate, salt, bichromate bleach. The aim throughout was to get a print which should be a sympathetic record of a good strong face and one which should tell of the cheerful evening of a busy life. All my portraits are made in ordinary living-rooms or school-rooms. I rarely use any reflector, merely shifting my camera or my subject, preferably the former. For younger subjects and especially children I prefer a lighter key. Sometimes I use a soft focus lens for a very moderate degree of diffusion. VERNON E. DUROE. HE THOUGHT SHE WAS CRAZY _See __Arches of the Municipal Building_ “Arches of the Municipal Building of New York” was taken on a Standard Orthonon plate, about 9:30 A.M., with a twenty minute exposure. Instead of a lens, the photographer used a piece of black paper pierced with a pin. A wise passer-by who knew a thing or two about photography noticed the absence of the lens. “How do you think you are going to take a picture without a lens?” he asked. “With a pin-hole,” she replied. He watched her with pitying interest. “She _thinks_ she is taking a picture,” he said to another expert, tapping his head significantly. ANTOINETTE B. HERVEY. THE LAST OF THE SQUARE RIGGERS _See __The Last of the Square Riggers_ How to suggest something of the stately vigor and the triumph over the mysteries of the seas of the old whaler, “Greyhound,” home from her last voyage after seventy-four years of service—her yards squared and bravely dressed for the inspection which will condemn her to be broken up—was the problem of the photographer. The time was near noonday in early August, the air clear and the sun bright. A Graflex camera was used with Seed L Ortho plates and a three-times screen, and one-fortieth of a second exposure sufficed at F 8. The plate was developed with Kalogen in tank rather softly and a contact positive made of the negative. This positive was then used to make an 11×14 negative by enlargement. P. M. C. No. 8 paper, buff stock, was selected, and in printing a piece of thin, even-grained paper was placed between the negative and the print paper to gain a certain softness of quality in the finished print. Finally when dry the print was waxed and rubbed down several times to give extra life and richness, particularly in the shadows. The camera carried a nine-inch Struss lens. G. B. HOLLISTER. AS TO CERTAIN SOFT FOCUS LENSES _See __Still Life_ Answering your question, Do you like to work with the Graflex with a Smith doublet, visual quality lens? I really believe it would be difficult to find a more satisfactory outfit. It is a companion always ready and willing to do everything that either comes your way or you go after. Working at F 4.5, the lens gives you the opportunity of getting the broadest effects in landscapes or the softest in portraits. As a rule these are not pleasing to most people when enlarged. I therefore usually work with the lens at F 6 or F 8, which gives a delightful image with distinct contours and a definite softness to the outlines, making beautiful enlargements which are sharp enough for bromoil or gum. And the Graflex is not so very heavy when a film pack or cut films are used. The image is always right side up and you see it in the full size. No one can question the efficiency of the shutter, and with practice you can hold the camera for a one-fifth second exposure. The only drawback to the outfit is in seeing things from the waist level, which makes the foreground difficult. Thinking of your picture as a pattern, however, it is better to be looking down from an elevation and with a nine-inch lens on a 4×5 box the immediate foreground is negligible. Everything considered, I believe there is no more satisfactory outfit than this combination. “Still Life” was the result of a problem of construction in pastel with three colors, the vase green, the small box red, with the white string. It was later photographed as a study of colored objects, using a Standard Orthonon plate with a Cramer Isos III filter and a Struss lens at F 8. The lens was of fifteen-inch focal length on a 6½×8½ plate. The exposure was made in an ordinarily lighted room, but not strong light, and I think about four minutes was given. The print is on ivory black platinum. There was no retouching of any kind, and I think the print shows the value of using a color filter with an orthochromatic plate where colors are contrasted in the subject. B. S. HORNE. MR. LATIMER EXPRESSES HIS VIEWS SOMEWHAT AT LENGTH _See __In an Italian Village_ In the olden days I used to lug around big cameras. I even went so far as to have 14×17 _hand camera_, made to take to sea with me to make large direct marines. In the days of the old Boston Camera Club it was called “the dog-house.” But I soon found out that it was “too much pork for a shilling.” Now I use small cameras and enlarge. My small cameras are mostly of the stereo-panoram variety, and a pocket Ansco, all fitted with fast lenses and with direct vision finders, which I consider much more practicable than the old style finders. For instance, I was on a steamer a few months ago, waiting to leave the dock, and a lot of gulls were flying around. I said to myself, “Here’s a good opportunity to test my shutter and finder, and see if I can stop them,” so I used up one roll of film on them. I made direct hits and stops on every one. My picture “In an Italian Village” was made with my Voigtlander 45×107 mm. stereo camera. I was on an auto trip in Italy; had nearly used up my three months allowed by the Italian Government, and had three days to get out or lose my deposit for duty on my car. I was on my way to the French frontier, and ran through this Italian village—Todi I think the name was. When I saw this picturesque old wall with some of the villagers, I said, “I’ve got to get this whether I lose my deposit or not.” So I stopped the car, got out my stereo, stood up in the car, leaned on the windshield, and shot before they woke up to what I was doing. Then what happened? The whole village seemed to want to get into the plate, and I had a mob instead of a picture. I made several more shots, but the first one was the best. In nine cases out of ten in like conditions I find the first shot the best. Shoot quick and don’t give ’em time to pose. I suppose if I had trained movie models, though, it might be different. I’ve tried studio work, but I prefer the small camera and the quick snapshot. Luck counts, I admit, but when it is good, the snapshot seems to me more spontaneous than anything I can do in the studio. My usual method of enlarging from small camera shots is this. I enlarge a transparency (positive) up to 6½×8½ or 8×10. “In an Italian Village” was an 8×10 positive, sharp lens. Then, either with a soft focus or a sharp focus lens, I enlarge to whatever size I want and whatever effect I’m after. The advantage of enlarging the positive is that you can do any faking you want to better advantage, and when your enlarged negative is done you can print in any medium you wish, so I always make enlarged negatives. I don’t think I’ve made a bromide enlargement in twenty years. “In an Italian Village” was enlarged from a part of a 45×107 mm. stereo, a little larger than my thumb-nail. The enlarged negative is 11×14. It was printed in multiple gum, four printings, pigment 50-50 lampblack and indigo. H. A. LATIMER. NIGHT PICTURES IN THE STREETS _See __Crow’s Nest Restaurant,__ also The Arch of Jewels, New York City—Mr. Alcock’s picture was made under similar conditions._ Picturing New York with a camera after dark is perhaps one of the most interesting phases of pictorial photography. After spending several evenings prowling about for subjects that will lend themselves for night pictures you start out one evening to transfer these mental images to the plate. A little patience, endurance, and a great deal of enthusiasm will do wonders. It is not the easiest thing in the world to start out with an 8×10 view camera, a good substantial tripod, and several plate-holders. A strong tripod is absolutely necessary on account of winds, jars, vibrations, etc. To avoid halation use portrait film, take the view where there are no glaring lights, and develop with Azol. Judge your time according to the amount of light (two to ten minutes). Capping the lens each time a lighted moving vehicle comes along helps the picture. For night pictures probably the best medium is gum palladium, because it lends itself to the mellow evening lights. SOPHIE L. LAUFFER. HOW TO “WORK UP” A NEGATIVE _See __Along the Canal_ “Along the Canal” was taken about mid-day in July in bright sunlight, Graflex 4×5, Cooke lens working at one-twentieth of a second, F 11, on Seed 26x plate, Pyro (Kodak powders) developer. In working up, first make Solio print and enlarge by photographing up to 6×8. On this negative sky and some trees were painted out, using glass side to work on. From this negative print was made on American platinum paper, first the foreground, then the sky printed from negative which will suit subject. Retouching can be done on this print with carbon pencil. You then have a print which can be enlarged to any size, using Smith lens. This print is on Spanish hand-made paper, hand-coated with platinum. W. E. MACNAUGHTON. AN EXPERIENCE WITH A RAILWAY DETECTIVE _See __The Railway Station_ I wandered into the Grand Central Station in New York City with a new camera—a Speedex 2¼×3¼. It had been given me as a present by my partner in photographic and other joys, who was tired of seeing me lug around an 8×10 view camera and plates. I thought the light looked interesting in the big station and opened my little box. Appeared on the scene the station detective. “Not allowed to make photographs without a permit.” “Where do I apply for it?” “At the stationmaster’s room.” I walked half a mile and interviewed a pretty stenographer. She said, when I showed her the tiny camera, “Certainly you can make snapshots with that little thing. What we don’t like is putting up a big camera on a tripod.” I went back in triumph, showed my permit, and shot. F4.8 Zeiss lens, wide open, one second exposure. Enlarged on P. M. C. No. 5, to 11×14 with Smith lens. HENRY HOYT MOORE. FROM A “BATHROOM” EXPERT _See __The Hour of Twilight_ I never at any time have had a regular dark room, practically always changing my plates and reloading holders at night in total darkness. When developing plates or enlargements, I take possession of the bathroom, place a wide board across the tub on which are placed the necessary trays, see that the room is absolutely dark, and go ahead. I usually tank my plates and films and use Azol for developing, sometimes Pyro. Most of my exposures are made with an Adams Minex Reflex camera, quarter plate size. This camera cost about three hundred dollars before the war, and I have found it well worth the expenditure. It has a Ross Zeiss Tessar lens, which I seldom use, being quite content with the work of my Smith single F 4.5 lens, which I carry in the camera all the time with a three-times light filter attached. My only other camera, which I use a great deal, is a Newman & Guardia “Baby Sybil” with Carl Zeiss Tessar F 4.5 lens, taking a picture 4.5 x 6 cm. This does wonderful work, the negatives easily enlarging to 11×14 and over. I use the Standard Orthonon plate and Premo speed film pack, always giving a full exposure. My favorite printing processes are multiple gum and bromoil, three or four printings in the former, nearly always from enlarged paper negatives up to 11×14 from either camera. “The Hour of Twilight” is a triple printing in gum, and was made with the Adams Minex on a Standard Orthonon plate, using a Smith single lens. WILLIAM GORDON SHIELDS. MR. WHITE’S METHOD WITH CHILDREN _See __Sisters_ When I went out of town to make a photograph of these children I wasn’t feeling just fit and I asked my friend to excuse me from making any negatives that day. I took the opportunity to look around and get an impression of the place. I noted the big rooms and the characteristics of the lighting and the faces of the children. I found that they kept their toys in a big sort of a highboy. So the next time I went out I photographed them there. The lens? Oh, yes; a Taylor-Hobson single. Exposure? Always with a cap, indoors. Paper? Always platinum or palladium—sometimes with a gum coating to help out. CLARENCE H. WHITE. DRAGGING A VIEW CAMERA THROUGH THE SANDS _See __Sand Dunes_ For want of a smaller one, I had the courage to drag a 6½×8½ Eastman view camera through the sand one late afternoon in September, to make my picture of the “Sand Dune.” I used a Struss lens stopped to F 11, a Standard Orthonon plate, an Iso three-times ray filter, and gave it as short an exposure as I could with a cap. I use a cap because I tell myself it is less mechanical and because I do not happen to possess a shutter. I developed the plate with Activol and printed it on sepia Palladiotype to try to give it that quality of sunlight which I saw falling upon the sand, the waving dune grass, and the sea beyond. MILDRED RUTH WILSON. [THE HAMPTON SINGER, By Dorothy Abbott, New York City] THE HAMPTON SINGER _By _DOROTHY ABBOTT, _New York City_ [THE ARCH OF JEWELS, NEW YORK CITY, By William A. Alcock, New York City] THE ARCH OF JEWELS, NEW YORK CITY _By _WILLIAM A. ALCOCK, _New York City_ [WILLOW VALLEY, By Charles K. Archer, Pittsburgh, Pa.] WILLOW VALLEY _By _CHARLES K. ARCHER, _Pittsburgh, Pa._ [PRAYERS OF BUDDHA, By F. Bauer, San Francisco, Cal.] PRAYERS OF BUDDHA _By _F. BAUER, _San Francisco, Cal._ [THE SWANS, By Jesse Tarbox Beals, New York City] THE SWANS _By _JESSE TARBOX BEALS, _New York City_ [ABOVE THE CLOUDS, By Clark Blickensderfer, Denver, Colo.] ABOVE THE CLOUDS _By _CLARK BLICKENSDERFER, _Denver, Colo._ [GRAMERCY PARK, By Mary F. Boyd, Chambersburg, Pa.] GRAMERCY PARK _By _MARY F. BOYD, _Chambersburg, Pa._ [HILL TOP—WINTER, By George Butler, Worcester, Mass.] HILL TOP—WINTER _By _GEORGE BUTLER, _Worcester, Mass._ [WEISSTHURM—ROTENBURG O. TAUBER, By A. D. Chaffee, New York City] WEISSTHURM—ROTENBURG O. TAUBER _By _A. D. CHAFFEE, _New York City_ [CABLES, By Arthur D. Chapman, West Hoboken, N.J.] CABLES _By _ARTHUR D. CHAPMAN, _West Hoboken, N.J._ [BOOKPLATE, By Alfred Cohn, Brooklyn, N.Y.] BOOKPLATE _By _ALFRED COHN, _Brooklyn, N.Y._ [THE BUGLE CALL, By Dwight A. Davis, Worcester, Mass.] THE BUGLE CALL _By _DWIGHT A. DAVIS, _Worcester, Mass._ [THE BRIDGE, By John Paul Edwards, Sacramento, California] THE BRIDGE _By _JOHN PAUL EDWARDS, _Sacramento, California_ [MY FATHER, By Vernon E. Duroe, Brooklyn, N.Y.] MY FATHER _By _VERNON E. DUROE, _Brooklyn, N.Y._ [MAIDS O’ THE MIST, By Mr. and Mrs. J. D. Drew, Montclair, N.J.] MAIDS O’ THE MIST _By _MR. AND MRS. J. D. DREW, _Montclair, N.J._ [AFTERNOON TEA, By Eleanor C. Erving, Albany, N.Y.] AFTERNOON TEA _By _ELEANOR C. ERVING, _Albany, N.Y._ [SUMMER PORTRAIT, By Laura Gilpin, Colorado Springs, Colo.] SUMMER PORTRAIT _By _LAURA GILPIN, _Colorado Springs, Colo._ [SUNLIGHT—TAOS, By Forman Hanna, Globe, Arizona] SUNLIGHT—TAOS _By _FORMAN HANNA, _Globe, Arizona_ [DICK’S STALL, By G. W. Harting, New York City] DICK’S STALL _By _G. W. HARTING, _New York City_ [BETH-EL, By Edward Heim, New York City] BETH-EL _By _EDWARD HEIM, _New York City_ [THE TOILERS, By Eugene P. Henry, Brooklyn, N.Y.] THE TOILERS _By _EUGENE P. HENRY, _Brooklyn, N.Y._ [ARCHES OF THE MUNICIPAL BUILDING, By Atoinette B. Hervey, New York City] ARCHES OF THE MUNICIPAL BUILDING _By _ATOINETTE B. HERVEY, _New York City_ [MORNING—PLYMOUTH, By Lillian M. Hobart, Northborough, Mass.] MORNING—PLYMOUTH _By _LILLIAN M. HOBART, _Northborough, Mass._ [LAST OF THE SQUARE RIGGERS, By G. Buell and Hebe Hollister, Corning, N.Y.] LAST OF THE SQUARE RIGGERS _By _G. BUELL AND HEBE HOLLISTER, _Corning, N.Y._ [WAR VETERANS, By Millie Hoops, New York City] WAR VETERANS _By _MILLIE HOOPS, _New York City_ [STILL LIFE, By D. S. Horne, Princeton, N.J.] STILL LIFE _By _D. S. HORNE, _Princeton, N.J._ [THE SUNSHINE OF JOHNNIE’S SMILE, By Roberta Hostetler, Davenport, Iowa] THE SUNSHINE OF JOHNNIE’S SMILE _By _ROBERTA HOSTETLER, _Davenport, Iowa_ [SUN DRYING, By H. A. Hussey, Berkeley, Cal.] SUN DRYING _By _H. A. HUSSEY, _Berkeley, Cal._ [PORTRAIT, By Doris U. Jaeger, New York City] PORTRAIT _By _DORIS U. JAEGER, _New York City_ [THE PIPES OF PAN, By Myers R. Jones, Brooklyn, N.Y.>] THE PIPES OF PAN _By _MYERS R. JONES, _Brooklyn, N.Y._ [IN AN ITALIAN VILLAGE, By H. A. Latimer, Boston, Mass.] IN AN ITALIAN VILLAGE _By _H. A. LATIMER, _Boston, Mass._ [CROW’S NEST RESTAURANT, By Sophie L. Lauffer, Brooklyn, N.Y.] CROW’S NEST RESTAURANT _By _SOPHIE L. LAUFFER, _Brooklyn, N.Y._ [THE QUARRY, By GEORGE P. LESTER, Bloomfield, N. J.] THE QUARRY _By _GEORGE P. LESTER, _Bloomfield, N. J._ [DETAIL OF CALIFORNIA BUILDING, By Florence Burton Livingston, Mohegan Lake, N.Y.] DETAIL OF CALIFORNIA BUILDING _By _FLORENCE BURTON LIVINGSTON, _Mohegan Lake, N.Y._ [SUNBEAMS, By Ben J. Lubschez, New York City] SUNBEAMS _By _BEN J. LUBSCHEZ, _New York City_ [ALONG THE CANAL, By William Elbert Macnaughton, Brooklyn, N.Y.] ALONG THE CANAL _By _WILLIAM ELBERT MACNAUGHTON, _Brooklyn, N.Y._ [SPRING, By Holmes I. Mettee, Arlington, Md.] SPRING _By _HOLMES I. METTEE, Arlington, Md. [SYMPATHY, By Hervey W. Minns, Kenmore, Ohio] SYMPATHY _By _HERVEY W. MINNS, _Kenmore, Ohio_ [THE MEADOW, By Robert B. Montgomery, Brooklyn, N.Y.] THE MEADOW _By _ROBERT B. MONTGOMERY, _Brooklyn, N.Y._ [THE RAILWAY STATION, By Henry Hoyt Moore, Brooklyn, N.Y.] THE RAILWAY STATION _By _HENRY HOYT MOORE, _Brooklyn, N.Y._ [Cultivating, By L. Pokras, Brooklyn, N. Y.] CULTIVATING _By _L. POKRAS, _Brooklyn, N. Y._ [PORTRAIT—MISS F., By Arthur Racicot, Quantico, Va.] PORTRAIT—MISS F. _By _ARTHUR RACICOT, _Quantico, Va._ [TO THE UNKNOWN SHORE, By Lawrence C. Randall, Columbus, Ohio] TO THE UNKNOWN SHORE _By _LAWRENCE C. RANDALL, _Columbus, Ohio_ [THE EAST RIVER, By D. J. Ruzicka, New York City] THE EAST RIVER _By _D. J. RUZICKA, _New York City_ [CLOSING OF AN AUTUMN DAY, By J. G. Sarvent, Kansas City, Mo.] CLOSING OF AN AUTUMN DAY _By _J. G. SARVENT, _Kansas City, Mo._ [THE VANISHING ROAD, By Otto C. Shulte, San Francisco, Cal.] THE VANISHING ROAD _By _OTTO C. SHULTE, _San Francisco, Cal._ [THE HOUR OF TWILIGHT, By William Gordon Shields, New York City] THE HOUR OF TWILIGHT _By _WILLIAM GORDON SHIELDS, _New York City_ [A SONG, By Guy Spencer, New York City] A SONG _By _GUY SPENCER, _New York City_ [OPEN-AIR PULPIT, GRACE CHURCH, By Elizabeth G. Stoltz, Marion, Ohio] OPEN-AIR PULPIT, GRACE CHURCH _By _ELIZABETH G. STOLTZ, _Marion, Ohio_ [L’ENTRE’ACTE, By Mankichi Sugimoto, New York City] L’ENTRE’ACTE _By _MANKICHI SUGIMOTO, _New York City_ [FARMYARD, By George P. Swain, East Orange, N.J.] FARMYARD _By _GEORGE P. SWAIN, _East Orange, N.J._ [CARLOTTA, By Lacy Van Wagenen, Orange, N.J.] CARLOTTA _By _LACY VAN WAGENEN, _Orange, N.J._ [MRS. PICKFORD, By Mabel Watson, Pasadena, California] MRS. PICKFORD _By _MABEL WATSON, _Pasadena, California_ [THE LITTLE ART SHOP—WOODSTOCK, By Anthony J. Weis, New York City] THE LITTLE ART SHOP—WOODSTOCK _By _ANTHONY J. WEIS, _New York City_ [THE DANCE, By Delight Weston, Blue Hill, Maine] THE DANCE _By _DELIGHT WESTON, _Blue Hill, Maine_ [SISTERS, By Clarence H. White, New York City] SISTERS _By _CLARENCE H. WHITE, _New York City_ [SAND DUNE, By Mildred Ruth Wilson, Flushing, Long Island] SAND DUNE _By _MILDRED RUTH WILSON, _Flushing, Long Island_ _THE_ PICTORIAL PHOTOGRAPHERS _OF_ AMERICA The objects of the Pictorial Photographers of America are to stimulate and encourage those engaged and interested in the Art of Photography; to enlist the aid of museums and public libraries in adding photographic prints to their departments; to stimulate public taste through exhibitions, lectures, and publications; to invite exhibits of foreign work; and generally to promote education in this Art so as to raise the standards of Photography in the United States of America. Meetings of the Association are held in New York City on the first Monday of each month. During the winter of 1919-1920 the following lecturers addressed the Association at these meetings: Mr. Robert J. Cole, Art Reviewer, New York Evening Sun, on “Man and the Camera;” Mr. H. J. Potter, of the Eastman Kodak Company, on “Both Ways from F-8;” Mr. Albert Sterner, on “Before the Click of the Shutter;” Mr. Pirie MacDonald and Mr. E. B. Core, on “The Pictorial Side of Professional Photography;” and Mr. Walter G. Wolfe, on “The Use of the Soft Focus Lens.” Mr. Allen Eaton, Field Secretary of the American Federation of Arts; Mr. William M. Ivins, Curator of Prints, Metropolitan Museum of Art; Dr. Frank Weitenkampf, of the New York Public Library; Prof. Charles H. Farnsworth, of Columbia University, and Walter L. Hervey, Ph.D., also made addresses. Another feature of the meetings which added to their interest and usefulness was a monthly print competition. Prints were submitted by members from all parts of the United States, judged by a committee in advance of the meeting, and a selection of ten prints presented to the members for their consideration. From these they chose each month the two best prints. The Pictorial Photographers of America this year for the first time arranged an exhibition of prints in Europe. Acting on the invitation of the Copenhagen Photographic Amateur Club to cooperate in celebrating its Twenty-fifth Anniversary, about 350 prints from leading pictorialists all over this country were assembled and forwarded in July to Copenhagen. At home, in cooperation with the American Federation of Arts, the Pictorial Photographers of America exhibited at the following museums the hundred prints which are reproduced in “Pictorial Photography in America for 1920.” The John Herron Art Institute of Indianapolis, The Jackson Art Association of Michigan, The Boston Society of Arts and Crafts, The Mechanics Institute of Rochester, The Arnot Art Gallery of Elmira; and during May, at the University of Virginia. During the past season the Association has cooperated with other organizations of a similar nature in planning for and establishing an Art Center in New York City. The plans for this have been successfully worked out, funds are already in hand for its accomplishment and buildings purchased for occupancy. This will provide a home for our Association, a splendid gallery for exhibitions, and thus make certain of immediate accomplishment plans for our future which have seemed impracticable up to the present time. In publishing “Pictorial Photography in America for 1921” the Association has invited the cooperation of pictorialists whether or not members of the organization. We hope that it will interest in our work men and women, whether photographers or not, who are interested in the development of the Art of Photography. The Secretary will gladly give more detailed information about the work of the Association and its plans for the coming year to any who are interested. JERRY D. DREW, _Secretary._ National Arts Club, 119 East 19th Street, New York City. [Advertisement: Pinkham and Smith Company] [Advertisement: Eastman Kodak Company] [Advertisement: Ansco Company] [Advertisement: Ica-Contessa] [Advertisements: Kalogen; Willis and Clements] [Advertisements: Japan Paper Company; George Murphy, Inc.] [Advertisements: Fred’k W. Keasbey, Abe Cohen’s Exchange] [Advertisements: Wollensack Optical Company; Willoughby’s] ***END OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1921*** CREDITS February 8, 2009 Project Gutenberg Edition Martin Schub A WORD FROM PROJECT GUTENBERG This file should be named 28023-0.txt or 28023-0.zip. This and all associated files of various formats will be found in: http://www.gutenberg.org/dirs/2/8/0/2/28023/ Updated editions will replace the previous one — the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the Project Gutenberg™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away — you may do practically _anything_ with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution. THE FULL PROJECT GUTENBERG LICENSE _Please read this before you distribute or use this work._ To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License (available with this file or online at http://www.gutenberg.org/license). Section 1. General Terms of Use & Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org 1.E.2. If an individual Project Gutenberg™ electronic work is derived from the public domain (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ web site (http://www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread public domain works in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES — Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND — If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ’AS-IS,’ WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY — You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need, is critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation web page at http://www.pglaf.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Its 501(c)(3) letter is posted at http://www.gutenberg.org/fundraising/pglaf. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email [email protected]. Email contact links and up to date contact information can be found at the Foundation’s web site and official page at http://www.pglaf.org For additional contact information: Dr. Gregory B. Newby Chief Executive and Director [email protected] Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit http://www.gutenberg.org/fundraising/donate While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: http://www.gutenberg.org/fundraising/donate Section 5. General Information About Project Gutenberg™ electronic works. Professor Michael S. Hart is the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For thirty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Each eBook is in a subdirectory of the same number as the eBook’s eBook number, often in several formats including plain vanilla ASCII, compressed (zipped), HTML and others. Corrected _editions_ of our eBooks replace the old file and take over the old filename and etext number. The replaced older file is renamed. _Versions_ based on separate sources are treated as new eBooks receiving new filenames and etext numbers. Most people start at our Web site which has the main PG search facility: http://www.gutenberg.org This Web site includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks. ***FINIS***