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that 8 by 10's are necessary in production work, but I'm speaking of exhibition material.
The front page of the catalog looks like the credit titles on a half a dozen superspecials. Too many judges. I cannot see 'how so many could possibly have gotten together on a single subject! A jury of • one man would be ideal, except I'm willing to concede the likelihood that a terrible squawk would go up from all over. Not more than three would be entirely practical and they ought to be photographers, not executives from the several branches of the industry. These latter had their say when the pictures were first made.
Then I'd suggest that, during the year, the individuals have the privilege of saving out certain shots they think might be good exhibition stuff before it gets lost in the archives. He would then be able to
have some jurisdiction in the matter of !i . . , . . . .
ms particular tastes in cropping, printing
and mounting. Too much of the art shown
looks a bit factory made. In some instances,
■•it's my guess that the chap who might
have had some good stuff to show "don't
work here any more."
Anyway, John, I do like the salon immensely and since it isn't damned with being an "art exhibit," it's entertaining. If it gets around, I'll bet next year it'll prove a sensation, especiallv in centers where the back-stage scene is still a novelty.
And if it doesn't wake up an interest among the still photographers and give them the itch to do better work and more of it, I'm sure there ought to be a few new names in next year's catalog.
Wonder where I laid my little hammer?
International Photographer for May, 1941
"Skiers on Mountain" from "The Mortal Storm" by MERRITT SIBRALD, Metro Goldwyn Mayer. First prize, best action production still.
Portrait by Baby Sandy by ED ESTABROOK, Universal Studios. Second place winner (Certificate of Merit), best posed portrait study.