DOI Artikel:
[Editors] Our Illustrations
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.29980#0062
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OUR ILLUSTRATIONS.
In making our selection from the work of Mr. Clarence H. White, we
were governed largely by a desire to choose such examples as would convey
some idea of the range and scope of this photographer, whose work has
in the past been best appreciated by the cultured. Letitia Felix and
Telegraph Poles are photogravures made from the original, unmanipulated
negatives. Winter Landscape, is a half-tone reproduced from platinum
print, while Ring Toss, also a half-tone, is from a gum print. The
photogravure, an illustration to " Eben Holden," is reproduced directly from
a straight negative. This picture, one of a series of twelve or more by
Clarence H. White, was made in fulfilment of a commission placed with
him by the publishers of that novel. So successfully did Mr. White apply
his talent as a pictorial photographer to the task of illustrating this book,
that a publisher as practical as S. S. McClure, who until now was satisfied
with nothing less than the work of the most talented artists in black and
white, promptly realized that photography had achieved success in the field
of illustration, and forthwith placed with Mr. White a commission to illustrate
a book about to be published by him. The difficulties of properly and
artistically illustrating fiction by means of photography are enormous, and
publishers realize that the artist in this medium must be paid quite as
liberally as those who work with pen or brush.
The Bridge, by John Francis Strauss, is a photogravure made from the
unmanipulated and unfaked negative.
The Last Hour, by Joseph T. Keiley, is a half-tone reproduction in
two printings made from the platinum original, a straight, unmanipulated
print.
The Street—Design for a Poster, by Alfred Stieglitz, is a photogravure
made directly from the original negative.
Winter Shadows, by Alvin Langdon Coburn, is a photogravure
produced from an enlarged negative. It had been our intention to bring
out other examples of the work of this young Boston photographer, but
circumstances have compelled us to defer this intention.
The other reproductions in this number are half-tones illustrating the
text to which they allude.
52
In making our selection from the work of Mr. Clarence H. White, we
were governed largely by a desire to choose such examples as would convey
some idea of the range and scope of this photographer, whose work has
in the past been best appreciated by the cultured. Letitia Felix and
Telegraph Poles are photogravures made from the original, unmanipulated
negatives. Winter Landscape, is a half-tone reproduced from platinum
print, while Ring Toss, also a half-tone, is from a gum print. The
photogravure, an illustration to " Eben Holden," is reproduced directly from
a straight negative. This picture, one of a series of twelve or more by
Clarence H. White, was made in fulfilment of a commission placed with
him by the publishers of that novel. So successfully did Mr. White apply
his talent as a pictorial photographer to the task of illustrating this book,
that a publisher as practical as S. S. McClure, who until now was satisfied
with nothing less than the work of the most talented artists in black and
white, promptly realized that photography had achieved success in the field
of illustration, and forthwith placed with Mr. White a commission to illustrate
a book about to be published by him. The difficulties of properly and
artistically illustrating fiction by means of photography are enormous, and
publishers realize that the artist in this medium must be paid quite as
liberally as those who work with pen or brush.
The Bridge, by John Francis Strauss, is a photogravure made from the
unmanipulated and unfaked negative.
The Last Hour, by Joseph T. Keiley, is a half-tone reproduction in
two printings made from the platinum original, a straight, unmanipulated
print.
The Street—Design for a Poster, by Alfred Stieglitz, is a photogravure
made directly from the original negative.
Winter Shadows, by Alvin Langdon Coburn, is a photogravure
produced from an enlarged negative. It had been our intention to bring
out other examples of the work of this young Boston photographer, but
circumstances have compelled us to defer this intention.
The other reproductions in this number are half-tones illustrating the
text to which they allude.
52
