Camera Work: A Photographic Quarterly (1906 (Heft 14))

of the Photo-Secession, but it is not limited to the work of that body. It
is believed to be as carefully selected a group of American photographs as
has heretofore been shown outside of New York City.”—Herbert G.
French.
The exhibition was an unqualified success, and amongst the cultured
classes of Cincinnati, photography, as represented by the Secession spirit, has
gained many new and valuable adherents.
ALVIN LANGDON COBURN AT THE “ ROYAL,” LONDON.
As we go to press word reaches us that Alvin Langdon Coburn, Fellow
of the Photo-Secession, who has been residing in London for the past year,
is holding a one-man show—120 prints—at the Royal Photographic Society.
Not the least interesting part of the exhibition is the preface to the catalogue
written by Bernard Shaw. As the next number of Camera Work will
contain some of Coburn's newer work we will defer further remarks
until then.
NEWLY ELECTED FELLOWS OF THE PHOTO-SECESSION.
Miss Alice Boughton, of New York; Mrs. Annie W. Brigman, of
Oakland, Cal.; and Mr. Frederick H. Pratt, of Worcester, Mass., have
been elected to the Fellowship of the Photo-Secession. Heretofore they
had been associates.

THE PHOTO-SECESSION GALLERIES.
In looking at the illustrations on another page our readers can form an
idea of the decorative arrangement of the Photo-Secession exhibitions.
Heretofore, with but two or three exceptions, photographs have not been
shown to their best advantage; the crowding of exhibits, the garish or, still
worse, insufficient light, the incongruous color-scheme have certainly not
helped in affording the public an opportunity of satisfactorily studying pic-
torial photographs. With these facts in mind, the Secession Galleries were
arranged so as to permit each individual photograph to be shown to the very
best advantage. The lighting is so arranged that the visitor is in a soft,
diffused light while the pictures receive the direct illumination from a
skylight; the artificial lights are used as decorative spots as well as for their
usefulness.
One of the larger rooms is kept in dull olive tones, the burlap wall-
covering being a warm olive gray; the woodwork and moldings similar in
general color, but considerably darker. The hangings are of an olive-sepia
sateen, and the ceiling and canopy are of a very deep creamy gray. The
small room is designed especially to show prints on very light mounts
or in white frames. The walls of this room are covered with a bleached
natural burlap; the woodwork and molding are pure white; the hang-
ings, a dull ecru. The third room is decorated in gray-blue, dull salmon,
and olive-gray. In all the rooms the lamp-shades match the wall-cov-
erings.
48