Victorian Salon 1931

VICTORIAN SALON OF PHOTOGRAPHY

EXHIBITION 1931

REVIEW OF THE EXHIBITION
BY GEORGE BELL

15th September 1931 Page 442 - The Australasian Photographic Review

Surely all agree in congratulating the Victorian Salon of Photography on this, their Second Annual Exhibition.

The Salon’s period of adolescence was remarkably short and it can now justifiably claim to be adult and truly international. The enthusiasm of devotees to the Art of photography is well known and is plainly shown here by the gratifying response from overseas to the Salon’s invitation to co-operate.

The foreign exhibits are of a very high order and some are obviously from the studios of accomplished and well-known practitioners. Their Victorian hosts are glad to have the opportunity of comparing their own efforts with those of the outside world and it must be accorded that the ordeal of comparison with the best is well sustained.

The exhibition as a whole is of wide interest and the characteristics of photography as an Art naturally put the emphasis on the interest inherent in the subject itself and as a consequence, an exhibition of prints depends very largely on subject matter. Some exhibitors, recognizing this fact, use ordinary subjects and depend for interest on a very personal manner of approaching an insignificant subject and thus widen the possibilities of their medium. In this exhibition there are many good examples of each attitude and variety is amply in evidence.

Another source of variety is furnished by the difference in technical methods which are suggested in the catalog by mystic signs. These are for the initiate and a mere layman like myself must not complain if one print be called "Chlor”, another "P.N.”, and yet another "Pig. B.” — "P.N.” sounds faintly familiar and "promising”, but "Pig. B.", seems a hard name to call any photographic print. However, there they were and very charming in spite of the epithet.

Of portraiture there are numerous examples and all capable productions.

Dr. Julian Smith, as usual, has some good ones to show, his "Painter” has character and really looks as if he might be able to paint; "Flight” is also a well-considered effort.

An arresting picture is "Bernard Shaw’s Capt. Brassbound” by J. Scott Simmons. How Mr. Shaw treated the Captain I have forgotten (except that he converted him), but I am sure he made him no more convincing than does Mr. Simmons in this well controlled picture.

C. Stuart Tompkins shows good grouping in "Reminiscences” and a fine picture has been made by Spencer Shier of "Pavlova and Her Ballet” in which the lighting is particularly well arranged.

Gordon Brown has seized on a characteristic pose in his "Will Dyson”, which is a trifle heavy in tone. Pegg Clarke deserves congratulation on her two charming portraits and A. Dickenson is successful in "Paul Montfort” and "Dawn”. Monte Luke shows an interesting "John Ralston as Schubert”. A. Bamfield, of London and Dr. Thorek, of U.S.A., both show fine examples of portrait art, but the most arresting exhibit is a case of prints from photographs by the painter D.O. Hill, of the Scottish Academy, produced 90 years ago! Photography at that remote date was in its infancy and these astonishingly beautiful prints emphasize the fact that perfection of machinery alone does not produce art.

Before leaving this section, mention must be made of a fine "Nude” by Angus Basil, a beautiful model finely photographed.

The outdoor section is particularly rich this year. Harold Cazneaux is always interesting, and his "Winter’s Light”, a landscape with trees and a well-suggested sky, is a good piece of work. His other exhibit, "Sydney Bridge”, is a dramatic triumph singularly well handled.

"The Tide’s Rim” is a very happy composition by Arthur Ford in a delicate tone which cleverly avoids weakness.

"Construction” by J.H. Foster, is a well thought-out composition containing some figures in just the right place. John B. Eaton has been successful in "The Jetty”, with a group of boats floating in calm water.

Mr. Howieson’s "Peace” shows the city in ethereal mood behind a strong foreground of river bank and contains a poetic element.

F. Lewis, in "The Crayfish Boat”, shows a quick eye for a good composition.

Mr. Prescott has done some beautiful pictures of flowers and this time he does not disappoint us. His "River Gum Blossoms” contains all his accustomed delicacy of tone and considered composition. Mention should have been made formerly of J.C. Simmons "Renegade,” a study of a man in a Red Indian headdress which makes an effective pattern.

A print by Ada Maly, from Czechoslovakia, entitled "Sun on Stairs”, is as simple and unaffected as its title and its broad masses, so well disposed, make it, in my opinion, one of the best exhibits.

Alex Keighley has a flair for composition and his "Greek Temple” and "Ox Carts” are very attractive prints in rich tone.

Many good pictures are shown by Japanese residents in California: "Curves and Shadows” by Hideharu, an ingenious composition of large water pipes; "Railway Station” by Kimura; "Mailman" by Koba yashi and "Rolling Sea” by Kono, a fine print of a wave with surfers, all show a fine taste in selection.

Very accomplished are the landscapes shown by J. Whitehead, of Scotland, and "Marine” by J.A. Anderson, of London, is notable as a good design.

These are a few only of the outstanding examples in a very interesting exhibition which maintains a high standard of accomplishment and taste and which will afford delight to all lovers of the art of photography.

15th October 1931 Page 476 - The Australasian Photographic Review