DOI Artikel:
[Editors] Our Illustrations
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.30583#0058
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OUR ILLUSTRATIONS.
OUR prospectus for 1906 announced that NumberXV of Camera
Work would contain some of Mr. Coburn's newer work.
Since this announcement was made, Mr. Coburn's exhibition in
London has attracted a widespread attention which will give an
added interest to the five photographs which we reproduce.
They have been made from the original iox 12 negatives, and although
in the reduction some of the power and quality of the original prints have
been necessarily lost, yet the photogravures give a very adequate idea of
Coburn's work in that particular line from which our selection is made.
In spite of the fact that in the London exhibition Mr. Coburn's
portraits received the more definite appreciation, we have not reproduced
any of them, as the quality of the prints is mainly dependent upon the
printing medium employed — a combination of platinum and gum — and
they would in consequence lose so much of their charm in reproduction as
to do him, as well as ourselves, an injustice.
In the portrait of the above artist, also included in our plates, we are
enabled to offer our readers a photographic, as well as a critical, interpreta-
tion of Mr. Coburn by G. Bernard Shaw. The edition is printed from a
photogravure plate etched by Coburn himself from Shaw's original negative,
this making the portrait doubly “ authentic.,,
In the two pictures, “No Title,,, by George H. Seeley, of Stockbridge,
Massachusetts, recently elected Fellow of the Photo-Secession, we introduce
the work of a comparative newcomer.
The experiment in three-color photography, by Eduard J. Steichen, is
produced solely for the purpose of showing what can be accomplished by
straight three-color photography. No chemical manipulation or retouching
whatever was resorted to, either in the original negatives or diapositives, nor
was there any local retouching or tool-work put on the three half-tone
plates made directly from the three diapositives furnished by Steichen to the
engraver. The edition was printed on the printing-press from the three
half-tone plates in yellow, red, and blue.
44
OUR prospectus for 1906 announced that NumberXV of Camera
Work would contain some of Mr. Coburn's newer work.
Since this announcement was made, Mr. Coburn's exhibition in
London has attracted a widespread attention which will give an
added interest to the five photographs which we reproduce.
They have been made from the original iox 12 negatives, and although
in the reduction some of the power and quality of the original prints have
been necessarily lost, yet the photogravures give a very adequate idea of
Coburn's work in that particular line from which our selection is made.
In spite of the fact that in the London exhibition Mr. Coburn's
portraits received the more definite appreciation, we have not reproduced
any of them, as the quality of the prints is mainly dependent upon the
printing medium employed — a combination of platinum and gum — and
they would in consequence lose so much of their charm in reproduction as
to do him, as well as ourselves, an injustice.
In the portrait of the above artist, also included in our plates, we are
enabled to offer our readers a photographic, as well as a critical, interpreta-
tion of Mr. Coburn by G. Bernard Shaw. The edition is printed from a
photogravure plate etched by Coburn himself from Shaw's original negative,
this making the portrait doubly “ authentic.,,
In the two pictures, “No Title,,, by George H. Seeley, of Stockbridge,
Massachusetts, recently elected Fellow of the Photo-Secession, we introduce
the work of a comparative newcomer.
The experiment in three-color photography, by Eduard J. Steichen, is
produced solely for the purpose of showing what can be accomplished by
straight three-color photography. No chemical manipulation or retouching
whatever was resorted to, either in the original negatives or diapositives, nor
was there any local retouching or tool-work put on the three half-tone
plates made directly from the three diapositives furnished by Steichen to the
engraver. The edition was printed on the printing-press from the three
half-tone plates in yellow, red, and blue.
44
