Amateur Photographer & Cinematographer (1935)

October 2nd, 1935 The AMATEUR PHOTOGRAPHED I p 6 CINEMATOGRAPHER o 1 A Landscape Worker looks at the Salon In the following notes the landscape work exhibited at The London Salon of Photography is commented upon. The Exhibition remains open until October 12th, at the Galleries of the Royal Society of Painters in Water Colours, 5a, Pall Mall East, and our readers should endeavour to visit it while they have the opportunity. OF pure, landscapes there are not a great number at this year’s London Salon of Photography. Those exhibited are, however, of a high standard of excellence. If we include street scenes and seascapes, both of which are in the province of the outdoor photographer, it can be said with truth that there is plenty to interest at the Salon besides figure studies, portraits, and the usual array of “ whatnots.” In "Glancing Shadows” (No. 9), C. J. Symes has produced a print in which sunshine on the wall of a house is extremely well depicted. The figures are well placed. The diagonal lines of the composition, interesting in themselves, have considerable value in that they lead the eye towards the group of boys. “ Sunshine and Rain ” (No. 13), by F. B. Williams, is a subject that many have seen, but few have ever portrayed it in this striking manner. This tall white chalk cliff (possibly Beachy Head), photographed from a low viewpoint, thus enhancing its height, produces a most pleasing curve. The juxtaposition of the lightest part of the cliff and the darkest part of the sky and the black rocks is a commend¬ able feature. Here is a print of which simplicity is the keynote. F. J. Mortimer gives us some views of bigger craft this year, and two fine seascapes, but in " Stowing the Jib ” (No. 17) he has produced a typical yachting picture and one that is most pleasing to view. The dark stern of the yacht provides a delightful upward curve. The eye, travelling up this curve, is at once arrested by the figure of the man trimming sail. The highest HAD a friend. Not very well off, with a wife and kiddie, a promising business and a flair for photography. His camera was a second-hand reflex of uncertain pedigree, which he picked up for the proverbial song. His dark-room was the dining-room, after the child was in bed and mother had been banished to the kitchen. Pie dishes held his developer and fixer — to the great concern of his wife — and the dark-room wasn’t dark while daylight lasted outside. His enlarger — but no words of mine can describe his enlarger. It had to be seen to be believed. light of the print, coming in close proximity to the figure, helps to rivet attention upon him. The curve of the sail, terminating at the same place, further strengthens the some¬ what central position of the figure. G. L. Hawkins again exhibits some fine tree pictures, and, whereas one can recognise them at a glance as coming from him, his sense of pattern and design is such that in no sense is there ever a sameness. " Copper Beech and Silver Birch ” (No. 30) is undoubtedly the finest tree picture in the Salon, maybe of any Salon, and lovers of trees, in fact landscape workers as a whole, might find in this print the most satisfying exhibit of the 1935 Salon. The tree trunks, beautiful in themselves, form a de¬ lightful pattern. The arrangement of the clouds which form the background is excellent. It will be noted how the line of the clouds towards the top of the picture forms an effective foil, preventing interest running up the trees and out of the picture. The light patch of cloud behind the fine curving trunks at the base of the left of the two main trees is a masterly stroke. L’eau qui fume ” (No. 34), by Leonard Misonne, is one of three by that well-known worker. This print shows Misonne quality at its best. The standing figure against the cot¬ tages provides a keynote in just the right place, and is nicely balanced by the high-light on the water diagonally opposite. “ Winding Valley ” (No. 78), by H. A. Murch, is a fine mountain scene with a valley which, unlike many of similar subjects, provides a welldefined sense of design. The eye WHY IS IT? Yet photography was his constant joy. Under such adverse conditions as I have described he turned out jolly good stuff and derived untold pleasure from his hobby. In the last two years his business has gone ahead immensely, and he is now passing rich. He lives in a house which possesses many more rooms than the family warrants, and one of. them, on the top floor, well away from interference, is the dark-room. It would do you good to see that dark¬ room — or else turn you green with envy. Think of every possible refinement you would like in the dark-room of your dreams — he’s got it. travels up that winding valley to the interesting curve at the top to return always and rest upon that fine patch of sunshine in the nearer plain of the valley. “ Cloud Magic ” (No. 173), by Will Till of S. Africa, is a fine open land¬ scape. Most notable is the feeling of the clouds receding into the distance. Looking into the blue sky in the gap in the clouds one really does feel that one is looking into infinity, a most rare quality in a picture. " The New Moon ” (No. 290), by J. M. Whitehead, is a fine print in that worker’s usual style. The distant lakes form a balancing feature to the heavy trees, and the finely reproduced sky completes a delightful print. No landscape worker should over¬ look the work of J. B. Eaton of Australia. His four prints, typical of his work, are, with one exception, of the wide open landscape type so difficult to handle photographically. In the hands of many a competent photographer such subjects would be a complete failure. It is all the more interesting to examine such work when it is obviously successful. Space does not permit mention of a considerable number of prints that will appeal to every outdoor camera worker. As well as the work of the exhibitors named, the prints by the following should be viewed with more than passing care (to mention the authors of outdoor work only) : Alex. Keighley, J. H. Anderson, James McKissack, G. L. A. Blair, A. Lomax, Lionel Wood, J. St. Aubyn, E.Chambre Hardman, J. Ainger Hall, E. Broomer, H. Ranson, Kalman Szollosy and J. H. Ahern. J. B. C. His enlarges — but no words of mine can describe his enlarger. Go to the catalogue of the finest manufacturers in the world, turn to their most expensive product — that’s it. Of course, he possesses the latest thing in cameras. He gave me the old reflex, with a remark to the effect that he couldn't understand anyone being bothered with such trash. I haven’t got that friend now, but I know that he hasn’t produced one single thing worth looking at since he moved into his new house, and for the last three months he hasn't touched a camera. Why is it ? D. Howard Edwards. 339 25