MELBOURNE CENTENARY
VICTORIAN SALON OF PHOTOGRAPHY
FIFTH INTERNATIONAL EXHIBITION
1934
SPECIAL REVIEW
BY HAROLD CAZNEAUX
December 1934 Page 580 - The Australasian Photographic Review
STURZ
Erno Vadas
Gold Medal
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
December 1934 The Australasian Photographic Review
My visit to Melbourne was a pleasant one quite apart from the famous Centenary Celebrations which were declared open by His Royal Highness the Duke of Gloucester. My objective was that notable exhibition, The Fifth International Salon, held by the Victorian Salon of Photography and opened by Professor E.J. Hartug, D.Sc., for the period 30th October to 10th November, 1934.
This Exhibition undoubtedly provided one of the features and also was of historical interest inasmuch that it was held during this present year that also marks the Centenary of Photography, What could have been more appropriate? The historic aspect was happily emphasized by a glass case containing some of Fox Talbot’s early negatives and prints which were on view, thus honoring the early work in photography, these exhibits were loaned by Mr. Brown of The Argus and by Miss Cowderoy of Clayton.
A feeling of reverence and admiration possessed me as I leaned over the cases. These early prints, though made from crude thin paper negatives by Fox Talbot, were truly wonderful things considering the state of scientific knowledge at that time. Then glancing up from these works of practically one hundred years ago, I looked around the spacious Athenaeum Gallery where some 300 examples of really wonder ful photography, artistically arranged, were representing all that pertains to the marvelous advancement and simplification of photography as compared to the labor and limitations of the process of those bygone years. Within this fine gallery one was facing facts that have been recorded through the history of photography from first to last. I felt that it indeed was a pity that such great distances separated this Salon from the other capital cities. Only hundreds of Australian photographers saw a display that should have been the mecca of thousands.
It was an epic occasion and the Victorian Salon Committee and all those who helped to organize this show deserve great credit and hearty congratulations from all interested in camera work.
Whilst the chemist, the optician, the manufacturers of apparatus and materials have all been perfecting and advancing photographic science with a notably progressive spirit, the photographer likewise has kept abreast of the times and demonstrated his ability to make use of the possibilities afforded by these modern products. Around the walls of this gallery the artistic quality of the work stands out in a very remarkable manner, it was a triumph for all concerned.
Strictly speaking, there are few "pictures of the year!” The standard is so very high and the general level so even that quite a large group of pictures must share in the honor of such a distinction, and certainly amongst this group will be found many of the prints that gained the awards. By the way the selection committee dealt with no less than twelve hundred prints that were submitted and therefore to be amongst the three hundred itself demonstrated a very high standard.
Standing in the center of the gallery one notes the wonderful quality of the prints that were hung. "Freaks”, "flukes” and "muzziness” have vanished. Everywhere there is a feeling of sanity in the exhibits. Novel and unusual effects there are, and very entertaining, too, representing the sense of humor enjoyed by the makers. There is, however, a feeling apparent that a great deal more "art” has entered the photographers make up nowadays. Forgive me the remark, it expresses what I wish to say. As photography becomes more of an "Art” so will the photographer be found to have be come more of the artist. Indeed this must be so. Exhibitions of the future will no doubt record some very great advances in this respect.
And now for a photographic bomb shell! Glazed black and white photographs make their debut, not with any excuse, but with a certain triumph, as they appear amongst the awards for gold and silver medals! I must admit that these prints do show off the quality of high lights, transparent shadows and delightful half-tones in no small way, all of which technical excellence has been made possible by the use of the modern plates and films that permit of part or full color correction. The glossy print of yesterday was in deed a harsh "customer” to-day, and with respect, we bow to it. I am not quite sure of the intention of the authors of these prints. Publication purposes to-day demand prints of a perfect quality, and it is possible that the two purposes, that of exhibition and of publication, are served by the glazed prints now being sent in for exhibition.
In the words of the judges at this Salon "some of the exhibits are very good photographs, and others are very good pictures, some few prints display both these qualities to a high degree, and so have received medals”.
The prints that received awards were certainly outstanding — but in this show I found many others practically as worthy and would have been honored had there been more medals available. As far as the practice of awarding medals is concerned, I must be broad minded. There was a time, a few years ago, when "medal hunting” was quite a sporty practice. There are many old time photographers who have probably forgotten the out-of-the-way corners and shelves where many of these medals and plaques and certificates are hidden. Nearly every exhibition could boast of favorite prints "going the rounds” and gathering in the medals. In those days a "picture of the year” would certainly be worth a bucket full of medals if the successful exhibitor wished for them. To-day, it is considered an honor to be selected for an exhibition and medals have ceased to be the token of success. Personally, I consider "awards” unnecessary, but it is not for me to condemn the practice.
There is more in this introduction of medals as awards in the present shows than seemingly appears upon the surface. The judges wish to point out to the public the prints that they consider the best, those that express the artistry and ability employed by the exhibitors. To this end the judges award the medals provided by the Salon. The distinction of a medal being awarded is a token of merit and success and so long as this is received in that spirit little harm may come from it. There is little doubt that the list of proposed awards printed on the entry form offers a considerable inducement to wards a successful roll up of prints for any show of the kind. So one must be broadminded in the matter of such awards being given to-day. I feel certain that most exhibitors are more concerned about the successful display of their efforts in good company at Salons than with the gaining of awards. The acceptance of good work is the real award for merit.
December 1934 Page 583 - The Australasian Photographic Review
TRINKENDES MADCHEN
Julius Ramhab
Gold Medal
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
December 1934 Page 584 - The Australasian Photographic Review
QUEL VENT!
Leonard Misonne
Gold Medal
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
December 1934 Page 584 - The Australasian Photographic Review
ARRAN PEAKS
John Baird FRPS
Silver Medal
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
A very interesting experiment that offers a solution of the question as to how the public respond to photographic exhibitions of this modern day was adopted in the Victorian Salon. A catalog (well produced and illustrated with reproductions of some of the awarded prints) carried a small printed card whereon one was invited to vote for what the individual considered the three best pictures. The result of this experiment at the close of the Salon should be very interesting. To me this experiment should prove if the public respond to prints that express a "mood” or "an idea” or to prints that pertain to just a "prettiness” or a mere statement of fact; or again, to prints that express a romantic pictorialism; a dramatic note; or novel effect. I await the results with considerable interest.
Going round the walls one will note the merit of each separate exhibit and I will now select and record examples of all that I consider useful for the purposes of this review. Here, I have for this purpose works from most parts of Australia, a very varied and interesting collection of prints, wherein the predominating characteristic is sunshine.
Austria, too; Belgium, with works of romantic and pictorial dramatic interest by Misonne; Canada; Czechoslovakia; China; Dutch East Indies; Egypt; England, the home of straight forward pictorialism; France; Germany, with bold and vigorous workers in photography; Holland; Hungary, from whence came some of the strongest work in the Salon, receiving two gold, one silver and one bronze medal, going to four of the six exhibitors; India; Italy; Japan, the land of the novel and fantastic camera workers; Java; Latvia; Monaco; New Zealand, very allied to Australian style; Norway; Scotland, also, of work mostly in low tone and full of romantic interest; South Africa; Spain; Sweden; Switzerland; United States of America, a large collection in great variety.
Here we have the world to choose from, Australians must feel a thrill of pleasure in the response for the Salon, Melbourne Centenary, 1934.
Amongst this great company one meets names of many famous workers who have made pictorial photography what it is to-day, here one finds also the new arrival, many who will equally make good the stamp of success is already upon some of their efforts.
A REVIEW OF THE AWARDED PRINTS
No. 200 "Sturz”, a glazed cold tone print, a study of a flock of geese with wings outstretched, dust and brilliant sunshine. It makes a thrilling moment which Erno Vadas, of Hungary, cleverly caught. Here we have an illustration of instantaneous pictorialism perhaps anticipated, but quickly seen and appreciated when the psychological moment arose. This fine print worthily gained a Gold Medal.
It is a picture that when looked at for the first time seems to burst in on one’s imagination. On second thoughts after the thrill has passed, a moment when many pictures fail, one feels that the picture has come to stay. It holds together and it lasts and mark you, it is a cold tone glossy bromide print!
Keast Burke, Sydney, gains a Silver Medal in Class C with his beautiful print of transparent quality, No. 1, "Water Lilies", a still life study. The design is good, but it is the peculiar transparency of the result that makes the picture one to remember afterwards.
December 1934 Page 586 - The Australasian Photographic Review
WATER LILIES
Keast Burke
Silver Medal
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
Another remarkable effect of transparent quality (how elusive it can be!) is one by F. Schensky, of Heligoland — a print of a marine subject exposed by flashlight and titled, No. 181, "Compass Medusa Chysaora”. This beautiful print of remarkable quality also gains a Silver Medal in Class C.
C. Schmid, of Switzerland, demonstrates texture and tones in fine photographic quality in his Silver Medal award print of a Still Life study of fruit entitled, No. 272, "Frinfte Hille ben”.
No. 262. "The Mirror", by Will Till ARPS, South Africa, gains a Silver Medal by its quality and good photography in Class C.
Another excellent piece of photography and one that exhibits a sense of painstaking care and patience is that of J.H. de Carvalho, of China, No. 146, entitled "Miss Spider”, this received a Bronze Medal in Class C.
In the same Class C a Bronze Medal goes to Cyril H. Collis, Sydney, for a print in the Trichrome Carbro color process, No. 5, "St. John’s Chapel Window, Sydney University”. This is a really fine color print, selected from a set of three that Mr. Collis had on exhibition.
Jeno Deukstein, of Hungary, scores a Bronze Medal with a study of two cats, No. 192, "Nach der Janse”, wherein the blacks and whites are cleverly interspersed. A touch of light on the profile of the black cat makes a good note in the arrangement and the empty plate tells a silent story. This plate forms part of the composition, its markings making some useful repetition of black and white notes that have a relationship to the ensemble. A more startled or disturbed attitude of the cats would possibly have carried more dramatic conviction to the story value of the picture.
A more convincing story will be found in No. 132, "Dinner Up”, a Bronze Medal award to C.M. Johnston, of Canada, who has given us a print of rich tones and textures, the alert attitude of the horses with the telling shadows of the harness thrown on the horses necks, makes this a print of distinction.
M.A.C. Godby, China, exhibits in Class C a sepia-toned print of rich quality, No. 148, "South Triforium”, which is an architectural subject from Gloucester Cathedral, England, receiving a Bronze Medal.
Another glossy bromide print in cold tones but with magnificent tonal quality that renders a subject entitled, No. 198, "Trinkendes Madchen”, by Julius Ramhab, of Hungary, worthy of the Gold Medal in Class B. This fine print, although of a cold tone, splendidly renders the feeling of sunlight. Its beautiful tonal quality makes one feel the tones and textures in such a way that the sense of color is suggested. The headdress on the girl provides interesting lines and pattern that balance perfectly with the line of the raised arm. The balance, too, of the water jug is just right in its relation to the whole composition. The deeper shadow passage, under the right elbow, extending to the breast provides the tour de force in this example of fine tonal rendering. It is not a beautiful picture nor does it express a great idea or mood, it rather more stands supreme as an example of an excellent subject rich in tonal value, texture, with a fine sense of composition and balance. In these respects the picture merits its award. This print is undoubtedly one of the most remarkable submitted for exhibition. That a glossy bromide print could stand up to searching and critical judges and pass the test for honors is a triumph for Julius Ramhab.
No. 3. "The Anaesthetist”, by Harold Cazneaux, Sydney, was awarded a Silver Medal in Class B. The subject is that of a doctor who is holding the wrist and feeling the pulse of an unconscious patient. What his thoughts are, be they of anxiety or assurance — are left to the imagination of those who examine the picture.
M. Benkow, of Sweden, receives a Silver Medal in Class B for his print entitled, No. 264, "Sorrow”. The attitude of the figures helps out this title, the bent head of the central one forming the apex of the bent triangle. It is really a delightful study of nude figures. Unfortunately, the mass of legs and arms against the left-hand corner forms a note of distraction. That the beautiful line sweeping down ward from the apex to the right of the triangle has a beauty no one can deny.
No. 139. "Womanhood”, by Greta Popper, Czechoslovakia, well deserves its award of a Silver Medal in Class B. This is a virile and striking study, a fine print. The rendering of flesh tones, the wonderful quality of the shadow passage between the kerchief and the face is masterly. There is delight in the modulations of this beautiful shadow rendering—the calm expression and clarity of the eyes makes this study one of the best in the Salon.
No. 206. "The Wind”, by S.K. Koparkar, of India, receives a Bronze Medal in Class B. A clever study—one that suggests a sense of invention. The figure holds the flowing drapery that is gracefully caught by the wind. In the composition, the swing of the figure and the curve of the sheet flowing out to the wind is delightfully carried out.
No. 196. "The Student”, by Fred Marnitz, of Hungary, receives a Silver Medal in Class B for a print of excellent quality and merit.
No. 242. Another glossy print scores an award here, a Silver Medal in Class B, for "Plying his Trade”, by William S. Hamilton, of Scotland. A good sense of movement is apparent and which gives a feeling of action. The lighting is excellent and well rendered.
No. 46. "Sun Worship”, receives a Bronze Medal award, Class B, and is by D.H. le Messurier, South Australia. This pictures the abandon of a leaping figure to the wind and sunshine of out doors. The effect has evidently been secured by a very fast exposure and good judgment.
No. 220. "Children", by Hidilci Matsushima, of Japan, was also awarded a Bronze Medal in Class B. It follows traditional work of Japanese workers and a sense of the decorative pervades the print. The composition is on unusual lines and the print of good quality.
No. 313. Fred P. Peel FRPS, of U.S.A., received a Bronze Medal, and with approval closes the list of such awards in Class B.
No. 128. One of those rich oil pigment prints by Leonard Misonne, of Belgium, scores the Gold Medal in Class A. "Quel-Vent” senses a drama tic note, the wind-torn sky, the tossed trees, the lowering light, all contribute towards an eerie effect. One is worried a little over the position of the figure on the road and it suggests a little uncertainty. Perhaps it is the double rut merging into one as the figure is reached on the road that causes this. Like most of Misonne’s prints the technical quality is magnificent.
With No. 161, Murray Barford FRPS, England, receives a Silver Medal for his print of luminous quality entitled "The Bridge Horse”. The composition is sound and the clean, straight photography typically English.
No. 13. "Off Sydney Heads” gains a Silver Medal for Arthur Ford, of Sydney, in Class A. Mr. Ford is well known for his interesting pictures of harbour and shipping scenes. In this print he shows a fine effect of movement. The scudding clouds are a little insistent in depth, giving a halo-like effect around the masts.
No. 236. "Arran Peaks”, by John Baird FRPS, Scotland, shows traditional work, a wide expanse of valley and mountain of certain majestic quality and gained a Silver Medal.
December 1934 Page 589 - The Australasian Photographic Review
RUNNING HERD IN THE STORM
Rudolf Balogh
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
December 1934 Page 589 - The Australasian Photographic Review
LETZTER SONNENSTRAHL
Erich Gunther
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
No. 23. "Idyll”, awarded a Silver Medal in Class A, exhibits a fine artistic sense in the handling of the pigment brush—with just that touch of abandon to produce an impression of a photographic sketch. In it Peter Lawrence, of N.S.W., has given us a delightful print with all these qualities.
No. 134. Harold F. Kells, Canada, shows an imaginative quality in his strikingly effective "Elemental” which, in Class A gains a Silver Medal. The effect is one that expresses an idea. The well-chosen clouds could have been printed in more successfully where they join the horizon. This fine conception expresses the elements, our brother, the earth, water, sunshine. The human figure and the horses express life and toil.
No. 34. A Bronze Medal is awarded W.H. Moffitt, of Sydney, for his oil pigment print titled "Cloud Shadow’d Plain”, wherein he expresses a feeling of atmosphere and space and an under standing of handling his medium to obtain the result achieved.
In No. 40, Stanley W. Eutrope, of Brisbane, shows how possible it is to find a romantic subject here in Australia where the sun shines hot and strong. The poetic feeling is beautifully expressed in "Relic of Old Melbourne”, with a luminous sky and low toned landscape. Awarded a Bronze Medal in Class A.
No. 246. Another Bronze Medal is awarded the dramatic and striking print, entitled "Rugged Arran”, by James Smith, Scotland. This shows a crater-like valley with rugged ridges surmounting and towering against the sky. It is heavily pigmented with in tense depth and richness.
No. 125. "Fruhling”, by M. Neumuller, Austria, a print of unusual charm, which received a Bronze Medal. It depicts a mountain plateau strewn with daisies with rain-threatening clouds looming over a distant valley. The rather dark group of trees in the middle distance is perhaps a trifle heavy; nevertheless, it gives a deep note of contrast to the snow-like effect of the flowers. This is a lovable print and one not easily forgotten.
No. 301. "Afternoon Rowing”, by Hisao E. Kimura, U.S.A., scores a Bronze, also in Class A, with a print of interesting construction.
No. 114. Arthur Burgess ARPS, West Australia, shows one print with which he gains a Bronze Medal. It is titled "After a Summer Squall” and shows some well-grouped sailing boats in full sail. The reflections of the sails in the now placid water give a good impression of the passing of the squall.
This closes my notes regarding the awards and a general review follows.
In No. 131, "Kiuer”, by Leonard Misonne, Belgium, one meets with a different outlook in the work of this master. This is a snow scene in delightful sketchy tone values. One can almost feel the wind driving the snow about and a most convincing atmospheric quality pervades this glorious print which is one of the outstanding works in the show. In it Misonne casts aside his usual dramatic and moody outlook.
No. 191. Rudolf Balogh, Hungary, assists in making the collection from this country a most formidable one in striking works. His print, "Hungarian Storks”, undoubtedly is a masterpiece of conception and photography. There is majesty and sheer wonderment as to how such a subject was secured. His composition is no fluke, it is real and it tells its story in a most convincing manner. Some say that he has printed in his clouds, does this matter? If he has done so then he is undoubtedly a super craftsman. I like the bits of the stork’s nest that have fallen on the roof. How charmingly this repeats something of the rough nest up on the chimney top.
No. 227. Thomas Kauffmann, Latvia, shows us a delightful print in "Old Castle, Riga”. The distant town seen between the dark tones of the steamer and bridge makes a fine study in black and white.
December 1934 Page 591 - The Australasian Photographic Review
WOMANHOOD
Crete Popper
Silver Medal
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
December 1934 Page 592 - The Australasian Photographic Review
FRINFTE HILLEBEN
C. Schmid
Silver Medal
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
No. 175. "Peter”, by Miss Julia Warren, England, gives us some charm in a portrait of a happy youngster of humorous expression, but her employment of a wash drawing effect around the print margins seemed somewhat crude and out of place in a photograph.
No. 140 A. I do like this subject by Miss Greta Popper, of Prague, entitled "The First Snow”. If one can appreciate and feel the effect of rain beating against one’s face so one will feel the atmosphere of this splendid atmospheric effect wherein flakes of the first snow flutter around a city crossing. The decorative lamp standards, the motor cars, the curve of the pavement speckled over with the falling snow, make it a charming subject. It is a glossy bromide print of great transparency and very suitable for this fine rendering of atmosphere.
No. 104. Athol L. Shmith, of Victoria, exhibits a grained-like-effect texture in a print of good quality entitled "Pioneer”.
No. 12 supplies us with a modern effect in unconventional lines and com position, yet with unusual interest and merit, and this will be noted in Max Dupain’s "Nude Composition”, from Sydney.
No. 83. "Devil May Care”, by Raymond Kelly, of Victoria, is a striking looking character study. The line of the left-hand side of the coat is weak but the helmet strap gives strength and support.
No, 37 is an unusual effect of sand ripples with a striking resemblance to those of water which will be found in a good print by Richard V. Simpson, of N.S.W., entitled "Wind Rippled Sands”.
No. 190. Rudolf Balogh, Hungary, shows us an imposing industrial plant. There is a dramatic effect of a shaft of light coming from the lofty roof and, as a note of interest, a figure is cleverly made use of.
No. 108. J. F. Strickland, of Victoria, shows us how a sunny tree-lined Melbourne street can appear as gay as one of the boulevards of Paris.
No. 277. An effect that should be familiar to Australians will be found in "Erosion Pattern”, by Heiz Bertelsmann, U.S.A. This is a print of texture quality, and from a distance it looms up like an impression of some mighty canyon.
December 1934 Page 592a - The Australasian Photographic Review
GONDOLIERS
Frank R. Fraprie
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
December 1934 Page 592b - The Australasian Photographic Review
AFTER THE MARKET, II
Samuel Birn
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
December 1934 Page 593 - The Australasian Photographic Review
AFTER A SUMMER SQUALL
Arthur Burgess
Bronze Medal
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
No. 189. "Running Herd in the Storm", by Rudolf Balogh, Hungary, is a remarkable print, full of movement and action and its pattern of the horns of the animals and the flying dust, with the dark notes of the foreground the animals make a stirring composition.
No. 11, W. Howieson, of Victoria, one of the members of the Victorian Salon of Photography, exhibits "Through Morning Mists”, a print of romantic tonal quality. It is a view of tall steeples and spires arising from the grey-fogged city with a graceful outline of great beauty.
No. 17. "Derelict", by Miss E. B. Hudson, N.S.W., exhibits a sense of "selection.” The deserted coach left in the snow leaves no doubt as to the idea behind the picture.
No. 203. A rather unusual print, "Schwere Aufgabe", by Erno Vadas, Hungary, a glossy bromide, shows a small child ascending a mighty flight of stone steps and in this I think that Mr. Vadas sets out to express an idea that the child starts at the bottom steps of life—he goes up little dreaming of the journey before him. He seems a plucky little chap and perhaps all will be well.
No. 286, "Mother of Pearl, Iris”, received a Silver Medal in Class C, a very beautiful subject and print. This, together with "A Study in Curves”, a still life of a group of bottles that exhibit excellent technical quality, are by Harold Haliday Costain, of U.S.A.
In No. 235, Sjoowall, of Norway, shows a flat tone portrait of subtle modeling.
No. 324. "Before the Storm”, by Frederick G. Weed, of U.S.A. This is a print of good quality although spoilt by the rather yellow shade of the paper used and only white tone would have been more useful. The masts and spars have sailors aloft, outlined against the sky, a long streaming pennant sweeps from the mast in the storm. A really fine subject, spoilt by the unsuitable tone of the print.
No. 315. An unusual snow scene with dark trees supplying contrast, while the sky seems to be full of snow. A print by Dr. Geo. C, Poundstone, entitled "Winter’s Artistry”, hailing from the U.S.A.
Nos. 73 and 74. John B. Eaton FRPS, of Victoria, who is well known overseas for his fine Australian landscape photography, and who is also a member of the Victorian Salon of Photography, exhibits two typical examples in "Solitude” and "Top of the Hill”, the latter a striking sketchy-like print of a group of gum trees. The charcoal black gradation of this print is unusual and very effective.
December 1934 Page 594 - The Australasian Photographic Review
OFF SYDNEY HEADS
Arthur Ford
Silver Medal
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
No. 67. "Trumpet Flower”, by Dr. S.O. Cowen, of Victoria, exhibits a softness of gradation that is very pleasing. The purity of the soft tones is well rendered, a delightful print.
No. 61. Some good work is found in prints by A.W. Briggs, of Victoria. "Forest Sunshine”, and in (95) "White Ribbon”, and (96) "The Bluff”, by William T. Owen FRPS, Victoria.
Nos. 70 and 72. "Morning Light” and "Microphone Mirth”, both by Arthur Dickinson, Victoria, also show good qualities, the arrangement and placing of the heads in "Microphone Mirth” being decisive and strong in composition.
No. 111. "The Ambulatory in the Shrine”, by C. Stuart Tompkins ARPS, Victoria, is an architectural print of unusual interest showing the shaft of sunlight that passes through a hole in the roof of the Shrine of Remembrance, Victoria’s National War Memorial. This light shines on the stone of remembrance on the floor on the "eleventh” hour of the "eleventh” day and month of each year. The subject is a difficult one and Mr. Tompkins has succeeded in giving us a very good impression of so noteworthy a feature.
No. 59. L.A. Baillot, of Victoria, gives us "Sammy”, an intimate study of an Australian terrier dog.
No. 33. "Homewards”, by Eric Merton, Sydney, makes a fine composition, and John Scott Simmons shows, No. 106, "Le Fugitif”, a print of interest and character. Very promising work from new workers.
Nos. 115, 116 and 119. Three prints from West Australia show typical Australian characteristics in "Turkey Point” and "The Fair City”, by E.A. Coleman, and "Winter Sunshine”, by A. Knapp.
Nos. 45 and 49. "Alchemist”, by J.T. Altass, and "Sunlit Seat”, by J.N. Tomlinson, both South Australians, show good work, with the exception of somewhat over-bold titling in "Sunlit Seat”.
Nos. 101 and 103. "The Late Dr. Littlejohn”, by Spencer Shier FRPS, Victoria, is a portrait of more than usual merit. The rendering of texture and the intimate and lifelike presentation make the work an outstanding one. "Old Sydney” is also by Mr. Shier and is a bromide print of pictorial perception and quality.
No. 285. "January”, by A.F. Conrad, U.S.A., is a fine snow scene which carries conviction. The use of a dark background gives a rich effect by judicious contrast.
No. 68. F. Dale, Victoria, shows how to render sunshine and shadow in his print, "Autumn Sunbeams”, and No. 53, "Toil”, by Miss Madge R. Jackson, Tasmania, is also worthy of mention.
No. 15. "A Summer Afternoon”, by E.B. Hawkes, N.S.W., is typically Australian, a post and rail fence with some grass and sky, but straight forward and intimate.
Nos. 28 and 29. "Clearing Mists” is a delicate tone work in pigment where in a lonely valley is set out in romantic feeling. In "Turmoil", a dramatic and bold sky supplies a key note to a subdued landscape wherein a lone tree stands as a sentinel. Both works are by Monte Luke FRPS, Sydney.
No. 25. Peter Lawrence ARPS, in addition to his Silver Medal print shows a vigorous composition of interest in the study, "F. Sharp”.
No. 21. "The Wharf”, by Harold N. Jones, N.S.W., and No. 31, "Native Craft”, by Henri Mallard, N.S.W., both depict work of distinctive merit.
No. 244. "Harvest", by J.M. MacEwan, Scotland, is a very decorative and straightforward study of a harvest scene. The curving lines of the sheaves of corn stacked upright and the hillside beyond form interesting features that complete an interesting combination.
December 1934 Page 596 - The Australasian Photographic Review
COLLEGIATE CHURCH, VARALLO
Alex. Keighley Hon.FRPS
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
December 1934 Page 596 - The Australasian Photographic Review
F SHARP
Peter Lawrence
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
December 1934 Page 597 - The Australasian Photographic Review
TOIL
Miss Madge R. Jackson
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
No. 249. Robert Ure, "Evening at the Harbour”; No. 240, James Thompson, with "Harvesters of the Sea”, and No. 239, W. S. Crocket, with "Low Tide, Whitby”, all uphold the quality of the work from Scotland.
No. 173. A glorious print, "Collegiate Church, Varallo”, by Alex Keighley, Hon.FRPS, England, exhibits all that high quality of artistic photography for which we all know him to be famous. His other two essays are "To the Sacred Isle” and "Mont St. Michel”.
No. 210. "The Straggler”, by Dr. L.V. Glaserfeld, Italy, is a study dealing with unusual suggestion of captured motion. The lines are decorative and helpful. The entries from Italy proved very interesting, such workers as Domenico Riccardo, with "Condole” being amongst them.
No. 185. "In der Scheune”, by Rheinhold Wilking, Germany, depicts a stable scene, with an old cart filled with hay. The light coming in from the window makes a very charming pictorial ensemble and a hay rack in the corner plays an important part in the successful composition.
No. 289. "Gondoliers”, by Frank R. Fraprie, U.S.A., offers thought and study by its simple beauty of decoration. A few poles, some reflections and a gondola. Simple materials, but how superbly they are gathered together in this pictorial essay.
No. 179. Erich Gunther, of Germany, sends us a very lacy fishing net study in "Nach dem Fang”, supplying a position that is on novel and unusual lines.
No. 208. "Waterside", by F.R. Ratnagar FRPS, India, features some good points, the ripple on the water being very realistic. The print is a beautiful rich warm brown tone and holds good values.
No. 233. Miss Daisy Tinney and Gerald E. Jones FRPS, of New Zealand, send "The Net” and "Mending the Sail”, respectively, the work being good.
December 1934 Page 598 - The Australasian Photographic Review
SORROW
M. Benkow
Silver Medal
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
December 1934 Page 599 - The Australasian Photographic Review
NACH DER JAUSE
Jeno Deukstein
Bronze Medal
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
No. 84. F. Lewis, Victoria, in "River Reflections", has two distinctly different composition elements. A very interesting and decorative foreground with fantastic shapes of shadow ripple in water, whilst the top portion is a mere statement of fact—the top of a bridge that seems to bear no relation ship to the delightful quality of the foreground.
Frantizek Drtikol sends some remarkable studies from Czechoslovakia which he calls "Photopurimus”, "The World of the Soul” and "Composition”. These are two most interesting studies in a process of lighting and execution that in his own words do not entail any faking or trickery. This worker, who has established a reputation on the Continent, must find many who will not understand his efforts as exhibited in this Salon, but there is no doubt of the productions being those of a master photographer. Weird as they are, the prints are certainly delightful.
In conclusion, I would like to say that I missed at this Salon the work of Dr. Julian Smith FRPS, Victoria, and, without doubt, some of his portrait studies should have been on the walls. [We understand that Dr. Julian Smith’s association with the Salon precluded his submission of entries.] It was a pity also that such a recognized pioneer of pictorial photography, probably one of the first we had J. Kauffmann, of Victoria, did not also send in some of his work. In fact, all our photographers of note should have been represented upon such an historic occasion.
My one regret with this wonderful exhibition is that comparatively so few Australian photographers saw it. Certainly hundreds in Victoria, but there are thousands distributed between the other States who could not make the trip to Melbourne for the Salon alone made the trip well worth while. The Victorian Salon and all those responsible deserve great credit for the efforts made, and it is worthy to note that success attended their venture, which certainly proved an outstanding attraction of the Melbourne Centenary celebrations.
December 1934 Page 601 - The Australasian Photographic Review
BACK AND FRONT OF THE SALON MEDAL
Presented in Gold, Silver and Bronze.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Four hundred votes were cast during the exhibition for public choice of the many visitors for the pictures they considered the "Three Best Prints”.
It is certainly a striking example of the catholicity of ideas that we may place on record the fact that these votes covered no less than a hundred pictures from the total. Upon dissecting these it was found that No. 200, "The Geese", by Vadas, polled 40 votes; No. 128, "Quel-Vent", by Leonard Misonne, 37 votes; No. 136, "Womanhood", by Miss Greta Popper, and No. 109, "Contentment", by C. Stuart Tompkins, tied for third place with 19 votes.
In conclusion we desire to place on record our appreciation of the assistance given us by the Hon.Secretary, Mr. C. Stuart Tompkins, and the Council of the Salon, especially for their courtesy in lending this Journal the series of half-tone blocks which they had had made for the Exhibition Catalog. To these we added almost an equal number from selected pictures, and consequently we believe our reproductions to be fully representative of the Salon pictures.
We may add, too, special thanks to Mr. Harold Cazneaux for the very painstaking and thorough manner in which he has reviewed the Salon for The A.P.-R. and we are sure our readers will share our appreciation — Editor, The A.P.-R.
December 1934 Page 602 - The Australasian Photographic Review
ELEMENTAL
Harold F. Kells
Silver Medal
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
December 1934 Page 603 - The Australasian Photographic Review
APPROVAL
Fred P. Peel
Bronze Medal
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
December 1934 Page 604 - The Australasian Photographic Review
HUNGARIAN STORKS
Rudolf Balogh
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
December 1934 Page 605 - The Australasian Photographic Review
FIRST SNOW
Crete Popper
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY