IN STATELY ROME
Rev. H.O. FENTON FRPS

from the
Sydney Exhibition of Pictorial Photographs
by New Zealand camera workers.

NEW ZEALAND PICTORIAL PHOTOGRAPHY

A CONSTRUCTIVE CRITICISM

HAROLD CAZNEAUX
Member London Salon of Photography
Special to “The Australasian Photo-Review”

15th December 1925
Volume 32 Number 12 - Page 601
The Australasian Photographic Review

In connection with the exhibition of pictorial photography by leading New Zealand amateur photographers, which is well staged by Kodak (Australasia) Pty. Ltd., at their salon, Sydney, it may be noted that apart from the rarity of the pleasure of viewing a collective exhibit from the Dominion, many names of their leading pictorialists are quite familiar to Australians.

The first Australian Salon of Pictorial Photography, which was held in 1924, brought some inkling of the quality of pictorial work of which New Zealanders were capable. Such names as: A.M. McDonald; A.B. Hurst; W.J. Ferguson; Miss B.M. Gibson; A.H. Eaton; and George Chance were amongst the workers who exhibited at this international exhibition. Other names familiar to Australians in connection with New Zealand camera work are Gerald Jones and the Rev. H.O. Fenton.

The present exhibition of camera work introduces many new workers names and examples of their pictorial work, together with the majority of those named who exhibited at the Australian Salon.

Messrs. Kodak have displayed the present show to good advantage. I like the idea of paneling each individual worker’s collection separately in “groups”, each group being very carefully hung so that full justice was done to every print. The catalog was on the lines of those produced by the leading pictorial shows, so that, together with the good attendance of the Australian pictorialists and the public generally, it can be stated that the show on the whole was a success.

As far as the pictorial quality of the collection is concerned it is rather a pity that care was not exercised to keep the type of photograph that borders on commercial photography apart from the show. These examples, splendid though they be in execution, do not belong to the modern show of pictorial photography, but in defense it may be stated that many of the photographs I refer to could have been treated pictorially, by careful selection of the “little bit” from the negative. Many of the yachting scenes, for instance, had excellent “bits” that could have been very successfully treated in a pictorial manner. Some of the mounting was reminiscent of the work produced twenty years ago, but on the whole, the mounting by the pictorialists was quite up to international standard. Quite apart from the mounting, there is little doubt that with such good quality pictorial work as shown by the majority of the exhibitors, time will tell with others who just at present are lacking in their idea as to what constitutes a pictorial essay by photography.

ONE WINTER’S NIGHT
B.M. GIBSON

from the
Sydney Exhibition of Pictorial Photographs
by New Zealand camera workers.

Mr. E.T. Robson, with his “Stately Poplars Reach the Sky”, gives a good pictorial rendering of trees against a cloudy sky. The left-hand side group of trees could have been trimmed off, giving greater value to the group of poplars and the charming cloud line above them, enhancing also the value of the title, so well chosen. “An Old Craftsman” shows Mr. Robson sure of his treatment of light and textures, the pose of the old craftsman being excellent. The line of the mantelpiece is rather too severe in the way it cuts past the old man’s head, a shaded or broken line would have improved the excellence of this portrait. “Paid Off” is full of pictorialism, but the line of the rigging from the prow of the boat to the right-hand top corner of print is unfortunate, spoiling an otherwise splendid effect of tone and balance. Mr. Robson demonstrates his versatility in the sound portrait of “Ruta”, a Maori girl. The drapery gives a very decorative quality, both in line and texture, the background being of a luminous quality. A fine portrait.

A group of portraiture by Mr. A.S. Mitchell stands out with merit. “Stella” is really a charming arrangement of curves and harmonious lighting. The light behind and under the hat is splendid, giving an accent to the lower values of light through out the picture. The only fault that could be found with this clever portrait is with the expression of the child’s eyes. They seem to have been caught at a wrong moment. The portrait of George Norton, is full of virile character. The execution of the print is perhaps a trifle hard, but the little print, “Sur Les Fonts”, is not only tender in its execution: it is harmonious and well balanced, one of the portrait gems in the show.

Mr. Rolf Keys also exhibits a good portrait in his “The Skipper of a N.Z. Scow”. His tone in this is good, also his lighting. The same worker gives us romance with his “O’er the Valley”, but in "Te-Aotea-Roa” a long drawn out middle distance line dominates the composition and detracts from the cloud form. “Summer Shade” is good: but would have been better with middle distance lightened up a little. “Surging Surf” shows excellent movement, though it suffers from a rather hard background. Had this been kept soft and diffused, the effect of surging surf would have been excellent, pictorially.

“The Powder Hulk”, by Miss C.R. Sanstrum, is sketchy and effective; her “Silver Birch” is very English, it bears the stamp of careful work despite a loss of form in the trunk of the tree.

Why the black edge of the mounting of the effective grey-toned “Summer Seas”, by Mr. W.J. Ferguson. Such a dainty print as this deserves a lighter note than a band of mourning. His print, “The Sentinel”, is excellent and the mounting good.

“Autumn” gives one an impression of the season and the light is well rendered, suggesting a lifting effect of clouds after a shower. There is a feeling about this print that brings one back again to enjoy its message. Is this not the real thing, “Pictorialism”? Its author saw and felt the moment, how can he but respond when it is so complete?

Mr. W.B. Seymore gives us good material in “Edge of Beech Forest, Paradise”.

STELLA
A.S. MITCHELL

from the
Sydney Exhibition of Pictorial Photographs
by New Zealand camera workers.

STATELY POPLARS REACH THE SKY
E.T. ROBSON

from the
Sydney Exhibition of Pictorial Photographs
by New Zealand camera workers.

The effect of the leaning trees is good, but the pictorial effect is lessened by the masses of light tree stumps which could with great advantage have been toned down.

Mr. Thomas H. Dawson has many merits in his panel of portraits and landscapes, but a heaviness of tone is apparent that should be reasoned with. His “Country Road” is good.

“Finis” is already familiar to Australians, but it looks good to see it again. “A Country Road” and “Summer Pastures” are both pleasing landscapes, especially the last named, with its full atmospheric effect, and the pleasing group of sheep. “Evening Stillness”, a soft-focus effect, and “Athalie” a really charming little portrait of a child, a very praiseworthy bit of artistry will be noticed in the clever modeling of a white dress against a dark foliage background.

Mr. A.H. Eaton, whilst already known here, has added to his reputation by this panel of his delightful pictorial work.

Mr. A.M. McDonald’s “Time’s Imprint” is hard. A soft toned paper would have helped this subject to better advantage. Still, the idea is good despite the bold placing of the facts before us. “The Tower” holds us with its effective light on doorway. Its sky is not so good; a more definite form of cloud or tone is needed with such fine company as that tower. “The White Coat” is a really good light grey tone effect, well executed and worthy of notice.

Mr. H.B. Peart’s collection of views remind me of my native land that land of scenic splendor. Apart, however, from admiring his clean photography, I must confess myself more interested in the pictorial rendering of the subject rather than that of record work.

Miss B.M. Gibson’s “One Winter’s Night”, although familiar, is strong enough to see again. It certainly stands as one of the best examples of pictorial work in the exhibition. I have a recollection of writing a complimentary criticism of this work before somewhere. The feeling of night, the rain in the air, the waiting cab by the archway, the gleam of the light on the rain soaked roadway, it is all clever and so well done. “The Mile House” is also good and of full atmospheric quality. “In Summer Time” the action is well rendered, but the background plays havoc with the complete freedom of the group; it is all so joined up.

Mr. James Treloar is perhaps at his best in “The Day of Rest”, and “Through the Dust”, the last-named having good atmospheric quality.

The yachting scenes of Mr. E. Renton are mostly all clean photographic record work, and amongst his subjects will be found much fine material for pictorial essay. With pictorial treatment, Mr. Renton could give us some very effective things.

MT. EGMONT, NEW ZEALAND
HEATON C. PEART

from the
Sydney Exhibition of Pictorial Photographs
by New Zealand camera workers.

Miss Una Garlick also has many good possibilities in the subjects that compose her panel of photographic work. Her “Rounding the Mark” is a regular “mix up” of racing yachts, yet in this array of many boats there is material for two or three excellent pictorial yachting pictures. There is a good feeling of swift movement that is well caught in her “Pleasure Craft Welcoming the Fleet”.

“The Beach Road", by Mr. R.A. Edwards, would be pictorially improved by the removal of the left side portion with tree. His “An Old Barn” is a very effective arrangement and an excellent subject for the Bromoil process.

The Rev. H.O. Fenton exhibits pictorial quality in most of his subjects that com pose his panel of essays. His “Stopham Bridge” is one of the best pictures in the show. In it there is a fine sense of massing, the dark note of the shadow of the arch being well placed and very effective. “To an Ancient Chapel” and “In Stately Rome” are both pictorially treated architectural subjects of fine quality, the figures being well placed and forming a splendid note. In his “The Harbour, Hoorn", there is excellent pictorial quality, composition and arrangement of light and shade being almost all that could be desired. The dark top portion of sky spoils the passage of light downwards, a lighter top portion of sky would have made a more harmonious balance to the otherwise fine scheme of lighting. Others of note are “A Souk", “Boat off Lisbon", and “The Crypt”.

“Harrowing", by Mr. J.W. Jones, makes a quite artistic pastoral scene. The lighting is soft and the gradation of the tones very effective.

Going round the show again I consider the selection of the following prints of out standing merit, well worth mentioning as being up to international standard:

“STOPHAM BRIDGE” “BOAT OFF LISBON" REV. H.O. FENTON, FRPS

“AN OLD BARN" R.A. EDWARDS

“ONE WINTER’S NIGHT" MISS B.M. GIBSON

“THE VALLEY ROAD" “THE WHITE COAT" A.M. MCDONALD

“A COUNTRY ROAD" “SUMMER PASTURES" “ATHALIE" A.H. EATON

“THE SENTINEL" “AUTUMN" W.J. FERGUSON

“SUMMER SHADE" ROLF KEYS

“STELLA" “SUR LES FONTS" A.S. MITCHELL

“RUTA" E.T. ROBSON

To Australian Pictorial workers this collection appears more after the English type of pictorial photography. There is a complete absence of “Stunt” effects, in fact, most of the work is carried out on broad and sincere lines that gives one the impression that pictorial work is taken seriously in the Dominion of New Zealand. It must be understood that the pictorial movement in New Zealand is comparatively new and it is, to me, surprising how the band of pictorial workers has steadily grown to the present numbers during the past few years.

THE SUN’S DECORATION
A.M. MACDONALD

from the
Sydney Exhibition of Pictorial Photographs
by New Zealand camera workers.

SUMMER SEAS
W.J. FERGUSON

from the
Sydney Exhibition of Pictorial Photographs
by New Zealand camera workers.

FINIS
A.H. EATON

from the
Sydney Exhibition of Pictorial Photographs
by New Zealand camera workers.

INNOCENCE
J.D. HAYS

from the
Sydney Exhibition of Pictorial Photographs
by New Zealand camera workers.

BOAT OFF LISBON
Rev. H.O. FENTON FRPS

from the
Sydney Exhibition of Pictorial Photographs
by New Zealand camera workers.

SUN SPLASHED
J.W. JONES

from the
Sydney Exhibition of Pictorial Photographs
by New Zealand camera workers.

YACHTING, AUCKLAND
E. RENTON

from the
Sydney Exhibition of Pictorial Photographs
by New Zealand camera workers.

THROUGH THE DUST
JAMES TRELOAR

from the
Sydney Exhibition of Pictorial Photographs
by New Zealand camera workers.

A COUNTRY ROAD
T.A. DAWSON

from the
Sydney Exhibition of Pictorial Photographs
by New Zealand camera workers.

THE SKIPPER OF A NEW ZEALAND SCOW
ROLF KEYS

from the
Sydney Exhibition of Pictorial Photographs
by New Zealand camera workers.

© PHOTOGRAPHIC EXHIBITIONS OF AUSTRALIA