Camera Work: A Photographic Quarterly (1906 (Heft 16))

vigor that is born of the instinct of self-preservation. Others again saw in
the conflict that was waging opportunity of personal advancement, and so
agitated vigorously toward that end. Others again, from pure love of
conflict, attached themselves to one party or the other, without possessing any
pronounced convictions either way. While others still, sought convictions
through conflict. Some, few in number, be it said to the credit of the
photographic world, and they, as a rule, not properly of that world, professed
and recorded convictions of one sort, till they felt higher pay could be
gotten for their MSS., by advocating the opposite. So the course of the
conflict was bedimmed—confused—and, to the casual observer, often
extremely hard to follow. The really essential facts of progress and
accomplishment were, on the one hand, often either not known or but
imperfectly so, to those who most loudly discussed the subject; or on
the other, being known, not infrequently ignored through indifference
or lack of understanding of their real trend and significance; or else
deliberately misrepresented or suppressed from motives of idle mischief or
sheer malice.
There were in consequence differences of every sort and in all quarters.
With its beginnings photography had a few dignified organizations, usually
of savants, for the promotion of its progress. When popularized and
brought within reach of nearly everyone, through being made comparatively
inexpensive, and so simplified that but small knowledge of any sort was
required to be able to produce photographs, there sprang into existence, all
over the country, little clubs of those who had cameras. The majority of
their numbers had neither scientific nor artistic training. With most, it was
a mere pastime, that gave birth to the ambition to “make pictures.” Soon
there were small exhibitions here and there that faithfully reflected the
crude beginnings of the movement. As the idea began to take more
definite shape, clubs began to have their factions. Magazines sprang
up, a few representative ones of general interest, a whole army of small
fry each devoted to the theories, party policy, or exploitation of their
particular following. Then began to simmer the question—what really
constituted a picture. This led to innumerable quarrels, which, as a
consequence, drew together those having the most advanced and definite
ideas upon the subject. Their efforts evolved what were known as the
Joint Exhibitions, held annually alternately in New York, Philadelphia, and
Boston from 1884 to 1894. These began well, but in time, with the
majority, their larger purpose was subordinated to the desire for medal
and riband, or place-winning. It soon became evident to the few who,
understandingly, were striving for the advancement of photography as
a picture-making medium, that the Joint Exhibitions had gotten into
a rut that made further progress, through their assistance, impossible.
The Exhibitions had ceased not alone to forward the movement, but were
creating a condition and unsound standards that held back those who
urged on, and ignoring their warnings, were rapidly degenerating the whole
movement.

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