DOI Artikel:
Caffin, Charles Henry: The Development of Photography in the United States
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.27086#0074
UNITED STATES
been enforced. What charm of delicacy or richness, as the case may
be, and of subtle effects of light and atmosphere, the beautiful
medium of platinotype may be made to yield without any manipu-
lation than that of skilful printing, aided by taste and feeling, has
been demonstrated especially by Alfred Stieglitz, Holland F. Day,
Clarence H. White, and Mrs. Gertrude Kasebier. The latter’s
results are all the more remarkable, because, for the most part, they
have been obtained in portraiture under the exigencies of com-
mercial output. She is one of those who had studied painting before
adopting photography as a profession, and has had a great influence
over here by frankly admitting that her aims are commercial, while
nevertheless lifting all her work to a high plane of artistic excellence.
It is interesting also to note in passing that the skill of Mr. White
in composing a few materials into a handsome picture, full of
delicate suggestions of sentiment, has attracted the attention of some
of the publishers, from whom he has received commissions for
illustrating novels.
In the processes which demand manipulation during the printing—
the glycerine and gum-bichromate—comparatively few of our
photographers have made successes. Yet, in connection with the
former medium, must be mentioned William B. Dyer and Joseph T.
Keiley ; and with the latter Alvin L. Coburn and Edward Steichen.
Mr. Coburn has made some very interesting experiments in com-
bining the process of platinotype and gum, while Mr. Steichen’s
prints in the latter medium represent pretty nearly, if not quite, the
best that photography has yet accomplished. Yet they are in no
wise final; indeed, in a certain sense they may be regarded as
brilliant aberrations from the path which American photographers
are treading. For the feeling that has influenced their character is
too conspicuously a painter’s; and, as I have tried to show, the
ideal over here is to stand for the independence and integrity of
photography and to realise out of the medium’s own capacities its
ultimate possibilities.
Charles H. Caffin.
u s 7
been enforced. What charm of delicacy or richness, as the case may
be, and of subtle effects of light and atmosphere, the beautiful
medium of platinotype may be made to yield without any manipu-
lation than that of skilful printing, aided by taste and feeling, has
been demonstrated especially by Alfred Stieglitz, Holland F. Day,
Clarence H. White, and Mrs. Gertrude Kasebier. The latter’s
results are all the more remarkable, because, for the most part, they
have been obtained in portraiture under the exigencies of com-
mercial output. She is one of those who had studied painting before
adopting photography as a profession, and has had a great influence
over here by frankly admitting that her aims are commercial, while
nevertheless lifting all her work to a high plane of artistic excellence.
It is interesting also to note in passing that the skill of Mr. White
in composing a few materials into a handsome picture, full of
delicate suggestions of sentiment, has attracted the attention of some
of the publishers, from whom he has received commissions for
illustrating novels.
In the processes which demand manipulation during the printing—
the glycerine and gum-bichromate—comparatively few of our
photographers have made successes. Yet, in connection with the
former medium, must be mentioned William B. Dyer and Joseph T.
Keiley ; and with the latter Alvin L. Coburn and Edward Steichen.
Mr. Coburn has made some very interesting experiments in com-
bining the process of platinotype and gum, while Mr. Steichen’s
prints in the latter medium represent pretty nearly, if not quite, the
best that photography has yet accomplished. Yet they are in no
wise final; indeed, in a certain sense they may be regarded as
brilliant aberrations from the path which American photographers
are treading. For the feeling that has influenced their character is
too conspicuously a painter’s; and, as I have tried to show, the
ideal over here is to stand for the independence and integrity of
photography and to realise out of the medium’s own capacities its
ultimate possibilities.
Charles H. Caffin.
u s 7