VICTORIAN SALON OF PHOTOGRAPHY
EXHIBITION 1930
August 1930 Page 373 - THE AUSTRALASIAN PHOTO-REVIEW
THE EXHIBITION OF THE
VICTORIAN SALON OF PHOTOGRAPHY
REVIEW BY MR. GEORGE BELL, THE WELL-KNOWN VICTORIAN ARTIST
Melbourne may justly be congratulated on its new Society, the Victorian Salon of Photography, which makes its debut with an exhibition at the Fine Arts Gallery. This society, to judge by the excellence of the prints exhibited, is assured of success owing to the capacity and keenness of its membership. Here is a band of enthusiasts who are producing fine photo graphs for the sheer enjoyment to be obtained in their production. There is little evidence of "professionalism”, although the technical standard is high, as far as one unversed in the mysteries of the art can judge.
“RETROSPECT”
C. STUART TOMPKINS
FROM THE EXHIBITION OF THE
VICTORIAN SALON OF PHOTOGRAPHY
Having thus indicated my ignorance of photographic process, my remarks must depend entirely on their value, if any, as an impression by an artist who is exceedingly interested in an exhibition such as this. Of late there has been some discussion as to whether photography is an art.
As the dictionary defines the word "art” as "human skill”, the term is amply justified. What should be stressed, however, is that photography has no connection whatever with the art of drawing and painting. In drawing the artist must consider all lines in their interrelation with the view of expressing rhythmic design, and necessarily uses distortion consciously or unconsciously to that end.
Nature supplies the material and the suggestion of the rhythms, but the artist’s mind must co-ordinate and make them significant. The procedure is so vitally different in a recording instrument like the lens, which may be said to have vision but no perception, that I feel the ideal of the one medium is so totally different from the other that each must seek perfection in widely differing ways.
This show, in which in many in stances the exhibitor’s work is grouped together, proves that individual taste can be expressed unmistakably both in choice of subject and effect. In some examples there is shown how patiently that precise moment which gave the desired effect must have been awaited. How rich is the reward of patience in comparison with that unconvincing expedient called "faking”. The natural quality in photography is static, so vitality must be attained by other means than the artist’s "co-ordination of rhythms”. Manipulation of tones is a much more attainable method, and can be used with fine effect, as is to be seen in some examples on view.
“THE CITY OF SOUND"
ARTHUR DICKINSON
FROM THE EXHIBITION OF THE
VICTORIAN SALON OF PHOTOGRAPHY
The old fault of the camera in making a violent contrast between dark and light and omitting all nuances has to a large extent been modified by modern improvements in material, but it still lurks as a trap for the unwary. When one sees a well-rendered tone passage such as "The City of Sound” — a unique composition by Mr. Dickinson — the value of a full gamut of tone (containing the middle notes as well as the extremes) shows itself in a feeling of mental satisfaction and repose, a feeling that can be produced by good art alone. In this composition (which represents the internals of an organ) the quick eye of the artist has seen material for an abstract composition of great interest The severe architectural form of the forest of pipes and their dispositions suggest the aims of the cubist painter. The constant repetition of the perpendicular is admirably balanced by the curved sweep of the tops of each set of pipes, which is emphasized by the very judicious lighting. Here we have a gradual movement of tone from dark to light with no steps missing, and, what seems most important, the effect aimed at produced before exposure of the plate.
Another composition by Mr. Dickinson, "How dare you, Sir”, is a picture in which the aim of ordered design is of the first importance in spite of the competition with the intention ally comic subject.
A different type of picture very well composed is Mr. C.S. Tompkins "Retrospect”. This study of an old lady silhouetted against the light is in tender tones without violent contrast, admirably expressive of the sentiment of the subject matter. The top part of the picture contains all the interest of form and tone mass and a little more contrast of tone in the lower part of the picture would improve the composition by carrying the light portion into the subdued portion.
“INSOUCIANCE”
JULIAN SMITH
FROM THE EXHIBITION OF THE
VICTORIAN SALON OF PHOTOGRAPHY
This diminuendo of lighting toward the lower part is a device very commonly used and in moderation is successful. In an excellent portrait of Mr. Frank Russel entitled "The Searching Eye,” by Mr. S. Shier, this devise has been used. The lower hand of the sitter has been enveloped in tone to perhaps too great an extent. Its value in echoing the light mass of the hand has been lost in over darkening, to stop competition with the point of interest. The same may be said of the portrait of Mr. Shirlow, by Dr. Julian Smith, an excellent portrait, made too dramatic by over concentration of lighting. Not so in his beautiful study, "Insouciance”. This portrait is successful in every way. The tone is well controlled. The sensitive modeling of the face and lighter parts is suggested with a fine reserve of tone, achieving simplicity without emptiness. There is also good management of linear composition in the drapery, which sustains the interest throughout the picture.
“THE SEARCHING EYE”
SPENCER SHIER
FROM THE EXHIBITION OF THE
VICTORIAN SALON OF PHOTOGRAPHY
Shipping has furnished the subject for many a fine photograph, and there are two examples of particular interest in the show. "Cargoes,” by J.S. Simmons, is one, and it shows a keen eye for composition in its producer. The design builds up capitally, both in line and mass. The repeated diagonals of the derricks contrast admirably with the bulwarks and other lines of the steamer, the smoke issuing from the funnels is just right, and the figures on the quay complete an excellent picture.
The other example portrays "The Little Dock”, one of Melbourne’s happiest hunting-grounds both for painters and photographers, but now swept away. This composition, by Mr. A. Field, is also an excellent one. Like Mr. Simmons’s "Cargoes,” it is square, a very suitable shape for this type of picture. A happy moment has been caused by the drying of the sails on one of the small craft. The mass of these sails lifts the composition from the ordinary.
NOVEL VIEW OF THE
VICTORIAN SALON OF PHOTOGRAPHY
IN CONVEX MIRROR
C. STUART TOMPKINS
Mr. Howieson also shows a very well balanced shipping picture which lays more emphasis on atmospheric effect than on formal arrangement.
Mr. Henri Mallard shows good taste in his "City Gleams.” This architectural composition is very satisfying from the painters point of view. The heavy tones of the foreground masses, while contrasting splendidly with the well lit-up distant city, have not lost luminosity. They are rich in variety, without that disastrous blackness so commonly seen. One could hardly speak too highly of this as a composition. Not a line or tone would one alter in any way.
Mr. John MacAskill hangs two interesting compositions, "Evening Quiet” is a very satisfying, definite statement of form with none of the distressing fuzziness considered "artistic” by some. The same quality is to be seen in the lovely tracery of the dead trees in his other example, "Of Life and Leaf Bereft”. The clear definition of these beautiful branch forms is a joy.
Perhaps the most thoroughly satisfying example, to my mind, are three flower pieces. "Californian Poppy”, by Mr. E. Pescott, is a triumph in the suggestion of tone. The decorative quality of the leaves is excellently portrayed. "Fairy Bells is a better composition, and the quiet beauty of the flowers is well brought out, and the result is finely decorative. "Beaumontia Grandiflora”, by Mrs. Simmonds, is the third flower piece. This is also a good decoration and contains beautiful passages of tone and is successful in spite of its intentional fuzziness. Interesting pictures are shown by Messrs. Cazneaux, Eaton (whose work is always interesting), Monte Luke and Miss Peggy Clarke. I have mentioned only a few striking examples among many good things in a good exhibition, which one hopes to be the first of many.