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SuADOWLAND
there has sprung anew the desire to do photography for photography's sake and have done with the endeavor to paint. When such leaders as Steiglitz, White, and Steichen call for the return of the "straight" print, we doubt not but that the next Salon will show a return to that method.
In the next issue, we hope to give the names of those to whom the jury awarded the honors of the exhibit, and we will endeavor to secure these prints for reproduction in the magazine.
The judges of this month's contest were: Mildred Ruth Wilson, Bernard S. Home, and Eugene V. Brewster.
First Prize — A Portrait. Margaret Watkins, 46 Jane Street, New York City.
Second Prize — The Fan. Holmes I. Mettee, Baltimore, Md.
Third Prize — Facade. Salome E. Marckwardt, 437 West 117th St. New York City.
ALONG THE RIVER
By Robert Waida
(Honorable Mention)
circles, there has come a swinging back of the pendulum — a reaction from the so-called soft-focus lens, just as the softfocus lens was a reaction from the harsh, wiry print of a generation ago. This was inevitable — due to a lack of moderation in the use and treatment of the print of today. The harsh, wiry print of yesterday has passed, except for purposes of reproduction, but, with the various grades and textures of paper today, the hazy, fuzzy print has no legitimate place in photography. Among those best fitted to speak for photography,
THE SARDINE FISHERS OF BRITTANY
By Laura Gilpin (Honorable Mention)
Honorable Mention — Along the River. Robert Waida, 9 West 14th St.. New York City.
Honorable Mention — A Landscape Pattern. Mrs. Antoinette B. Hervey, 351 West 114th St., New York City.
Honorable Mention — The Sardine Fishers of Brittany. Laura Gilpin, 30 West Dale Street, Colorado Springs, Colo.
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A LANDSCAPE PATTERN
By Antoinette B. Hervey (Honorable Mention)
Page Sixty-Four