Camera Work: A Photographic Quarterly (1904 (Heft 8))

LONDON SALON.
Three months later saw me at the opening of the Salon of the Linked
Ring in London. They told me that it was the best ever held. America had
for the first time judged its own pictures and had contributed about one-
third of the entire collection. I had never had the opportunity of seeing
previous Salons of the Linked Ring. My first impression was of keen
disappointment — a small hall, none too well lighted, overcrowded with
frames, although there were but 230 in all.
Upon closer examination the average of individual pictures seemed
good; exceptional work was scarce. The work of the Americans, with one
exception, disappointed me — it seemed as if the prints of many of the
subjects shown were not the best from the plates — in many cases, as a matter
of fact, I had previously seen far better prints of the same subjects. The
tendency seemed toward overprinting, darkness and muddiness, although
making due allowance for London fog and poor lighting. It seemed to me
a great pity that the American pictures could not have been hung together,
for they would have given each other mutual strength and support. A
comparison with Dresden could not be avoided, and London suffered in
consequence. And yet, to my way of thinking, the artistic average of the
American prints was far in advance of that of the English. A striking
feature in some of the English exhibits was the marked influence of the
American school, and notably that of Gertrude Käsebier. In fact, through-
out Europe I found her influence dominant.
The hanging of the exhibition as a whole was decoratively done, though
the individual prints undoubtedly suffered. It is of interest to note that
even there in London, where big prices for photographs have been pooh-
poohed, two Steichens were sold for 15 and 10 guineas respectively, that a
Käsebier platinotype and one by White brought 5 guineas each, a Demachy
sold for a similar price, etc., etc. At Dresden too, good prices prevailed,
a Kühn brought 300 marks, two Eugene 5x7 platinotypes, 200 and 100
marks respectively, etc.
THE ROYAL.
To visit the Salon without seeing the Royal is to do an injustice to the
Salon. Beautiful galleries, good lighting—for London — and the walls
plastered with pictures from very good to very bad — the average tended to
lowness. It is indeed a pity that with its opportunities the premier society of
the world should fail so lamentably. If there had been picked from these
reams of paper the pictures and if these had been hung with some taste,
the Royal indeed could have been well satisfied with its showing. But as it
was, I returned thither but thrice, whereas the Salon I visited seven times;
showing that neither exhibition was examined lightly.
That my estimate of American work as represented by that type of
photography of which the Secession and Camera Work are exponents has
not been due to the personal element is proven by the avowed recognition of
its value, not only in itself but also as an exemplar, by the leaders of pictorial
photography throughout Europe. Their enthusiastic appreciation, expressed
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