VICTORIAN SALON OF PHOTOGRAPHY
EXHIBITION OF INTERNATIONAL CAMERA PICTURES 1933
REVIEW OF THE EXHIBITION
BY GEORGE BELL
1st July 1933 Page 269 - The Australasian Photographic Review
The Victorian Salon of Photography deserves hearty congratulations on the International reputation which it has been able to build up in a very short time. The world-wide response received in answer to its invitation to exhibit, and the quality and quantity of the work submitted from overseas show in what estimation the Salon is held abroad as an International Exhibition.
Looking at the walls on which are hung over 250 examples of photographic art of high standard, one instantly realizes that the reputation gained is well deserved. Nor is there any appreciable difference in quality except in one or two instances between overseas and Australian work, which proves that in photography, at least, we do not lag behind the rest of the world.
In the excellent Victorian Section Dr. Julian Smith is represented by four of his capable portrait studies — perhaps character studies would be a more apt description. He uses emphasis of lighting in a dramatic way, and thus heightens the drama already suggested by the disposition of the model. His "Kingsford Smith” is full of the determination characteristic of an aviator of his type. "The Scout”, another of his exhibits, shows a man of personality, strongly lit, yet not marred by black unillumined shadows. Good nuances of tone are to be seen in the forms of the tunic. The interesting line of the hat-brim completes a happy design.
"The Summit", a print by A. Dickinson, is built on a strong diagonal made by the figure and echoed by the line of cloud from behind. Balance has been carefully restored by the contra diagonal of the thigh reinforced by the parallel line of the arm and head. The lower right-hand quarter of the print, however, gives an effect of unrelieved dark which, had it contained some variety of tone, or direction of form, would have enhanced rather than detracted from the picture’s effect. His romantically conceived "Fish in a Bucket” is a very attractive piece.
"Light and Shade", a nude by E. Adamson, shows a well-posed figure which composes well in its square mount. The determination to use an unusual angle of light has undone the good work by marring the design with streaks of unrelated light. This print would have been very successful had it been taken in a "flat” light — example: lit from behind the camera in an unaffected way.
O.H. Coulson’s work is always sound. His "Through the Ti Tree” is an example of still something said in a trite subject. "Ancient Relics” is a good subject of interweaving forms.
W. Howieson, who always has some fine architectural prints, shows in "Swanston Street” the New Manchester Unity building in light tone, capitally contrasted with the lower tones of the foreground buildings.
Spencer Shier’s, "Sir George Rich” is what is generally known as a speaking likeness, but his real merit is to be seen in "Sincerity", a fine portrait of an elderly woman.
John W. Eaton’s landscapes are always a feature, and his "Hill and Dale” is a good print of well-contrasted lines. The lighting, quite natural, has a dramatic intensity, emphasized by the contrast in the foreground, which makes a fine impression. In "Sombre Hills", however, he excels himself. This is a design of compelling power. The formal arrangement of the lines and masses of the hills is impressive to a degree, and the effect is heightened by the management of the contrasts of light and dark tone. This print is a veritable achievement.
Stuart Tompkins hangs four well turned-out prints. "Toilet Finales” contains good nuances of tone, but the difficulty of composing three figures in similar costume must have been very great. His print, "Plastic Art", is a very happy portrait of Mr. Paul Montford at work.
Three prints by Russell Grimwade deserve special attention, both on account of his use of the medium and his perspicacity in his choice of subject.
W.L. Lucke-Meyer uses flowers as his material and his "Magnolias” and "Water Lily” have great charm in their tonal subtlety.
New South Wales has sent a strong exhibit headed in the catalog by Harold Cazneaux, the well-known Sydney worker. His four examples do him credit, notably "Bush Fire Haze", in which much manipulation has not destroyed the character of the medium and a capital picture results.
Both "Wind Whipped” and "Seascape", by Arthur Ford, are first class, although the cloud in the latter print repeats the form of the breaking wave on so much greater a scale that the immensity of the more solid form is dwarfed.
E.B. Hawkes contributes also a coastal scene, "The South Coast", showing rocky headlands. "Lakeside", by H. Jones, is indicative of a sensitive soul in contemplative mood. P. Lawrence’s "The Job” is individual in this exhibition, the composition of the workman filling his barrow strongly suggesting the pictures of Francois Millet, the French painter of peasant life.
Monte Luke is another Sydney photographer well known in Melbourne by his work. "Winter Evening", by him, is very distinguished in design, expressive in its quiet dignity. "Solitude", in an intelligent treatment of a banal subject.
Several good prints come from Queensland. S.W. Eutrope’s "Nature’s Cathedral” is intriguing in its group of trees which suggests the title, the suggestion of nave and twin towers being plainly discernible.
The South Australian work is of good standard. D.C. Barnes’s "Mist and Sunshine” is attractive in design and tonality.
Tasmania has only one representative, but a very good one in Senator Millen — his "Worker’s Den” is a well composed picture of a dark-room corner with bottles and phials, making a rich medley of tone. The highest light, which is on a bottle neck, is well balanced by the clock on the wall.
"Winter Quarters", by Dr. H.S. Lucraft, of Western Australia, is a quiet and restful scene of motor launches at anchor on a calm sea. The position and size of a white cloud high up fights for precedence with the fore ground, leaving a feeling of indecision as to which is supposed to dominate.
In the Canadian exhibit, C.M. Johnston distinguishes himself with his print "Traffic Plays the Tune”. His fine sense of design is used to good effect in which the bending river spanned by a bridge full of traffic and viewed from above makes a notable picture.
Bruce Jenkins sends from China some pictures in humorous vein, the Chinese subject matter furnishing an exotic note.
Czechoslovakia is well represented by Ada Maly. Her "Early in the Morning” is a beautiful print, very impressive in its distribution of masses and its subdued movement. It is charming in its unpretentiousness.
England sends many fine examples. A.C. Banfield’s "Old Bailey”; E.A. Bierman’s three prints; Bertram Cox’s landscapes and H. Douglas’s portrait work are all distinguished and of high class.
From India come some interesting photographs. Those of F. Ratnagar are excellent, and a portrait entitled "My Mother", by J.N. Unwalla, is very satisfying as a characterization.
A. Van Oudtshoorn, of South Africa, contributes a very good landscape in "The Road to Caledon".
The most outstanding contributions, both in portrait and outdoor work, come from Scotland. Drummond Young shows four prints of consummate photographic art. His "Walter Grieve” is a most satisfying piece. There is none of the out-of-focus sham painting about it; none of the so commonly seen attempt of one art to masquerade as another. He accepts his medium and glories in exploiting its possibilities in a logical way. Everything is sharply defined and yet controlled so that there is no over insistence of unessentials. The disposition of the hands in relation to the head and the frame and the definition of the contour show the artist and raise this picture and another of his, "Miss Jessie Brown", far above the works of Swan Watson, good though they be.
S.L.A. Blair is the other Scotch exhibitor, and his work is also exceptionally good. His specialty is yachting subjects, and his hunting ground evidently the Firth of Clyde, the Scot’s yachtsman paradise. He is evidently blessed with a full share of that quality so necessary to the photographer, especially the outdoor worker, the quality of patience. One can imagine the planning and waiting necessary to get such a shot as "Angles of Peace", in which one can see strong appreciation of form in the abstract as well as intention to get a record of incident. "Wild Weather” is another triumph.
The exhibit from U.S.A. is impressive in numbers and technical proficiency if not outstanding in originality. Mention must be made, however, of an extraordinary print by Dr. Max Thorek, of Chicago, entitled "Mon Homme". The design of this picture of two Negroes heads shows a very strong sense of design, and in its way is one of the gems of the exhibition.
The exhibition is notable in various ways. The high level of execution is impressive. The fairly general escape from mere banality has been almost entirely successful owing perhaps to strenuous efforts of the judges. Another healthy factor is the general attitude to the medium. There is noticeable a striving to produce a good real photograph, and not a bad imitation of mediocre painting. The fact that photography and painting have widely divergent aims and ideals seems to be better understood.
The art of painting fell into the calamitous error of emulating the photograph and has lately realized its mistake and it is retracing its steps. This exhibition would seem to indicate the more general acceptance on the part of the photographic artist of the lines most suitable to his medium on which he may pursue excellence.
THE SCOUT
Dr. Julian Smith FRPS
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
SEASCAPE
Arthur Ford
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
HILL AND DALE
J.B. Eaton FRPS
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
THE SUMMIT
A. Dickinson
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
WINTER QUARTERS
Dr. H.S. Lucraft
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
SIR GEORGE RICH
Spencer Shier FRPS
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY
THE WORKER’S DEN
Senator J.D. Millen
Exhibited at the
VICTORIAN SALON OF PHOTOGRAPHY