DOI Artikel:
Kerfoot, John B., The Cloak-Room Mystery
DOI Artikel:[Editors] Our Illustrations
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.30587#0045
- Startseite des Bandes
- Alle zugehörigen Werke
- art journals – Kunst- und Satirezeitschriften
- Camera Work auf arthistoricum.net
- Register
- Editorial
- Informationen zur Zeitschrift
Für diese Seite ist auch eine manuell angefertigte Transkription bzw. Edition verfügbar. Bitte wechseln Sie dafür zum Reiter "Transkription" oder "Edition".
The Cloak-room Mystery is more than ever the chief topic of conver-
sation among the members of the Springfield Photographic Association.
Only last Wednesday, while Bronson was busy printing souvenir postal-
cards, a ten-cent piece, two pennies, and a beer-check disappeared from his
overcoat-pocket. J. B. Kerfoot.
OUR ILLUSTRATIONS.
OF the six plates included in this number of Camera Work, five are
devoted to the work of Mr. J. Craig Annan, of Glasgow, Scotland.
Mr. Annan’s efforts are always interesting, but this small collection
shows the photographer at his best. As the gravure plates and
the edition therefrom have virtually been made by Mr. Annan himself, this
series has an increased interest and value, for their quality as gravures is
quite as remarkable as the quality of the original prints.
Pastoral—Moonlight, by Mr. Eduard J. Steichen, will certainly be
appreciated by our readers, for it is interesting not only as a photograph but
as a specimen of reproduction. This picture of Steichen's was one of the
prize-winners in the recent Eastman Kodak Competition. The negative
was made on a film with a kodak and ordinary lens; the prize-winning print
therefrom was an enlargement on Eastman bromide paper, and toned greenish
blue and yellow locally by a method originating with the photographer and
which is a secret of his. The photogravure is practically an original as it was
made from the original film from which a diapositive was enlarged according to
Mr. Steichen’s instructions and etched on copper. After the Manhattan Pho-
togravure Company had etched the plate and had printed the edition, every
print as published in Camera Work was treated by Mr. Steichen so as to
get the effect similar to that obtained by him in the original bromide enlarge-
ment. This plate is an object-lesson of what can be done with a kodak, an
Eastman film—machine-developed—and bromide paper, handled by an
expert photographer who is an artist in the true sense of the word; also of
what can be done in the way of reproduction by those having feeling,
brains and knowledge.
31
sation among the members of the Springfield Photographic Association.
Only last Wednesday, while Bronson was busy printing souvenir postal-
cards, a ten-cent piece, two pennies, and a beer-check disappeared from his
overcoat-pocket. J. B. Kerfoot.
OUR ILLUSTRATIONS.
OF the six plates included in this number of Camera Work, five are
devoted to the work of Mr. J. Craig Annan, of Glasgow, Scotland.
Mr. Annan’s efforts are always interesting, but this small collection
shows the photographer at his best. As the gravure plates and
the edition therefrom have virtually been made by Mr. Annan himself, this
series has an increased interest and value, for their quality as gravures is
quite as remarkable as the quality of the original prints.
Pastoral—Moonlight, by Mr. Eduard J. Steichen, will certainly be
appreciated by our readers, for it is interesting not only as a photograph but
as a specimen of reproduction. This picture of Steichen's was one of the
prize-winners in the recent Eastman Kodak Competition. The negative
was made on a film with a kodak and ordinary lens; the prize-winning print
therefrom was an enlargement on Eastman bromide paper, and toned greenish
blue and yellow locally by a method originating with the photographer and
which is a secret of his. The photogravure is practically an original as it was
made from the original film from which a diapositive was enlarged according to
Mr. Steichen’s instructions and etched on copper. After the Manhattan Pho-
togravure Company had etched the plate and had printed the edition, every
print as published in Camera Work was treated by Mr. Steichen so as to
get the effect similar to that obtained by him in the original bromide enlarge-
ment. This plate is an object-lesson of what can be done with a kodak, an
Eastman film—machine-developed—and bromide paper, handled by an
expert photographer who is an artist in the true sense of the word; also of
what can be done in the way of reproduction by those having feeling,
brains and knowledge.
31
