Camera Work: A Photographic Quarterly (1903 (Heft 3))

And the reference to the Dutchmen is apt because they were masters of the
genre picture, and it is in this category that Mr.White’sprints are particu-
larly notable; for he of all American photographers has attained to the
happiest results in what may be styled domestic genre.
This is especially the class of picture which those painter-critics who
rejoice, or, to be more charitable, feel it to be their heaven-directed duty
to belittle the claim of the photographer to be capable of artistic rendering,
cite as terrible examples. They allude with pious horror to this kind of
manufactured picture; and, really, one’sown experience runs out to meet
their criticism half way. Photography, indeed, must stand convicted of a
multitude of so-called pictures, concocted in this vein, which are an abomi-
nation to all straight thinkers. It would seem, in fact, that these domestic
subjects, which of all others might be expected to offer fruitful suggestion
for the camera are full of difficulties. And such is evidently the case. To
make a nice selection of environment and to place in it a figure, which shall
seem to belong naturally thereto, and at the same time to express some
sentiment, is by reason, perhaps, of its apparently obvious simplicity, a
most exacting task; for the photographer, after all his judicious devising, is
dependent upon the spontaneousness of his model. And he does not often
devise judiciously.
Generally he seems to introduce his properties either because of their
intrinsic handsomeness or because he thinks that they will contribute to
the subject-matter of his picture; whereas it is for the composition of his
picture that Mr. White in the first place selects them. Moreover, he has
thoroughly mastered the principles of composition. In this respect there is
nothing haphazard in his work; everything is calculated with a choice
precision, with a refinement that eschews elaboration and secures from one or
two objects a patterning of full and empty spaces which is characterized by
gracious dignity. For the control which he exercises over the composition
is not merely the result of carefully studied principles, but is a formal
expression of his own attitude of mind. The arrangement in his pictures is
an extraordinarily personal one, and in its graciousness and dignity reflects
always the sentiment of his subject. Sentiment and composition, indeed, in
his case are mutually explanatory and reinforcing. So he seems to be con-
cerned less about making pictures than in expressing some idea through
pictorial means, which is, of course, the proper process of the artist.
While, therefore, the young student of photography may well learn
from Mr. White the necessity of technical knowledge in the selection and
placing of the objects in a composition; and, given this knowledge, the
absence of any need of elaborate properties, perhaps, indeed, the actual
virtue of simplicity, he will miss the greater lesson if he does not realize
that all this will be the better for being the expression of some depth and
sincerity of idea in the operator’s mind, which he is seeking earnestly to
express. For ultimately, I imagine, the test of a good picture is the quality
of mind which it embodies.
And in Mr. White’s case this quality is discovered to be very serene

16