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

AMERICAN PHOTOGRAPHY AND THE
FOREIGN ANNUALS.
IN that best of the photographic annuals, Die Photographische Kunst ,
1905, published in Germany by Wilhelm Knapp, Ernst Schur, the
critic, reviews at length the Berlin Exhibition of that year. His
analysis of the Photo-Secession pictures there exhibited covers some
seven pages and we quote the following:
Among the exhibits of the various nationalities that of the Americans is easily first. It is
more complete in itself than any of the others and shows a refined artistic sense highly developed
and fully matured.
Owing to the wealth of expression and the manifold technical attainments which the Ameri-
cans command, their work, viewed as a whole, presents a remarkable variety of treatment and ideas.
It is a mark of authority in them that they are strong where strength and positiveness are required,
delicate where subdued tones are called for, impetuous and racy where life and temperament are
desired, and full of reverence where they approach the mysterious. It is a mark of maturity in
them that they steer entirely clear of exaggeration, pretension, and modern affectations. They are
the most modern of all, yet the most sure and reposeful. They are the most advanced, yet
they have prepared their position with circumspection, and they reach a consciously selected
goal with the calm of perfect deliberation, like the hunter who with a cool and deadly aim reaches
his prey.
They do not overstep their limits, but seek the highest possible perfection within their clearly
defined sphere. They do not reach out for the impossible, the forbidden, and avoid every insincere
pose. Being of a practical bend they exploit the possibilities of their technique, thus producing a
rare harmony between their aspirations and their attainments. At every step we feel that they
have practiced long and hard ; that their development has passed through a number of stages ; and
their work is entirely free from the faults of the beginner’s impatience.
With all his insistence upon his marked personality, Eduard Steichen is no exception to the
remarks just made. True, he has a personality all his own and he does not hesitate to give it the
fullest play. He was one of the leaders. But he, too, shows that close interrelation between
material and intention, purpose and success, that ultimately resulting harmony of the artistic
impression which arises only from a complete mastery of the technique. These are the qualities
which count. What matter if some think him eccentric, criticize him for making use of non-
photographic expedients? The fact remains, nevertheless, that his is a fully developed artistic
personality.
To sum up, the Americans startle us by their wealth of motives and their aptness and truth
in solving problems. We could easily double the number of names, each would show some
characteristic accomplishment. Chief among these is the remarkable ability to avoid the rigidity
of the portrait; to intimate the possibility of a change of expression which gives life to the features ;
to get rid of the portrait appearance and of the studied pose. They ever delight in observing
natural poses and lifelike groups. It is life they seek, the individual being merely a factor therein.
Hence they try to picture groups or to represent the individual at some one of his every-day
occupations. One of the chief elements of value in these groups is the stimulus they give to the
study of composition. Again, seek to avoid the dark and harsh studio-light which makes the
features appear so stony and unnatural and they look instead for a natural lighting. In this respect,
too, they enlarge the scope of photographic possibilities and seek to solve need problems of light
and atmosphere. They are the impressionists among the photographers; they prefer delicate
gray and light tones. They have a way of showing an entire space, in which we see persons, as
it were, accidentally moving about — working, standing still, meditating — their figures at times
being but partly visible. This is what renders their conception so beautiful, their way of looking
upon the world of objects.
(Translated from the German by G. H. Engelhard.)

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