VICTORIAN SALON OF PHOTOGRAPHY
SIXTH INTERNATIONAL EXHIBITION 1936
SPECIAL REVIEW
by Mr. L.A. BAILLOT
1st May 1936 Page 9 - The Australasian Photographic Review
On Friday, April 17th, the sixth Victorian Salon of Photography was declared open by Professor W.A. Osborne, in the presence of a large body of people representative of all degrees of photographic interest.
Some three hundred prints, representing the majority of countries in the world, are hung in the Melbourne Athenaeum Gallery and by their very diversity of subject matter afford ample evidence of the fact that every improvement, in materials, apparatus, etc., is immediately made use of and turned to pictorial production. Synchronized flash-bulbs are responsible for a number of excellent pictures. The miniature camera, with its new technique, universal sharpness, and facility of viewpoint is much in evidence.
Glossy prints have come to stay apparently, and in most cases justify their use, particularly in the case of certain oversea still life subjects. That this method can be carried too far is evident in several prints depicting sun light, where the cold black and white of glazed paper fails to carry conviction.
Upon entering the Gallery the first thing one notes is the excellent quality of the exhibits as a whole. Sanity is the keynote of the exhibition, and one looks in vain for the usual "stunt” pictures, having no other claim to merit than passing strangeness. Unusual and novel effects are present, but in addition to subject matter are planned upon a solid basis of composition and photographic quality. Diffusion is conspicuous by its absence, except in the case of a few foreign exhibitors, who without exception have made the original negative with a soft focus lens, usually choosing a brilliantly lit outdoor subject.
Bromoil and Bromoil Transfer are also well to the fore, and singular aptitude has been displayed in these processes in adapting ink color and (in the case of transfer) paper surfaces to expression of mood.
A number of fine prints by different workers are from paper negatives, and the results lead me personally to wonder why this method, with its flexibility and absolute control is not used by more pictorialists.
As in the last Salon, the work of the Melbourne Camera Circle and of the Sydney Camera Circle work are hung as group exhibits. This arrangement is admirable, and affords a convenient method of comparison. It is worthy of note here that the Australian sections make a very creditable showing, and process for process, class for class, the foremost of our exhibitors challenge comparison with the best work from abroad. Several prints from Victorian boys not yet out of their ’teens would seem to promise well for the future.
It is difficult in this exhibition to select "best” pictures. The general quality is so high, and the subject matter so varied, that there are of necessity any amount of bests, but the following prints are worthy of note, and will give some idea of subject, treatment, etc., to those who unfortunately were unable to attend in person.
"Inverted Arches", A.C. Godby, China. A warm tone print of splendid quality, conveying with its series of arches an impression of great height.
"Royal College of Surgeons”, W.R. Garrett, Victoria. A formal treatment of a doorway, notable for the clever handling of straight lines. This print has been made with an etching screen in contact with the paper, and definitely looks more like an etching than a photograph. It is difficult to see where anything is gained.
"Old Rome", C.J.J. Schaepman, Netherlands. A multiple gum print in the romantic mood, conveying a splendid impression of stone texture.
"Young Australia", Keast Burke, Sydney. In this print, an out-of-doors portrait of a smiling youth, printed on glossy paper, we have straight photography at its best, the trimming of the top of the head being no advantage.
"Nuts", Axel Bahnsen, America. A carved coconut head, with an absurd grin, being gazed at by a human head with a similar absurd grin. Sounds somewhat weak on paper, but as a print is definitely the most humorous thing in the exhibition.
"Portrait", by Chin San Long, China, a Bromide print from a paper negative, the grain inherent to the process is helpful in conveying a general impression of ruggedness.
COLOR IS REPRESENTED IN THE EXHIBITION BY:
"Opal” (Trichrome Carbro), C.H. Collis, Sydney. Of technical interest only.
"Espanto Pajoris", A. Campana Bandranas, Spain. A scarecrow against a stormy sky, in green bromoil.
"Nevando", by the same worker, is a green bromoil, consisting of nothing but the figure of a man with umbrella, against a sky worked to represent rain. Containing only three tones, this print is undoubtedly one of the most convincing prints hung.
"On the Baltic Sea", Edward Alenius ARPS, America. A "Fresson” in purple.
"Around the Red Lamp", Russell Grimwade, Victoria. A carbon in red, and No. 94, "Gum Leaves, a green carbon.
"The Vale of Mystery", H.C. Slocombe, Victoria. Picture of a mysterious valley in a low key, most aptly titled.
No. 267. Marcus Adams, England, exhibits a dainty print of H.R.H. Princess Elizabeth and Princess Rose of York.
"The Child, the Bloom", H. Cazneaux, New South Wales, shows an exquisite study of a beautiful child, holding to its lips a blossom. A delicately conceived piece of symbolism, showing the touch of the master.
"Iron Knob", by the same worker. A landscape with a beautiful patch of light, but spoilt by the harshness of the clouds.
Henri Mallard, of New South Wales, strikes an entirely Australian note with two pictures of Australian natives in "The Corroboree” and "Uncivilized".
"The Glory of the Morning", E.B. Hawkes, New South Wales. A technically good print, but some what low in key to express its title.
"Grey Morning", Harold N. Jones, New South Wales. A picture containing the minimum number of tones, and very happy in the position of the boat on the grey water. This print is remarkable in its presentation of perfect peace and quietness.
"Norman Lindsay", Monte Luke, New South Wales. A somewhat gloomy portrait, excellent in lighting and modeling, and with more appeal than appears at first glance.
"Late Afternoon", J.W. Metcalfe, New South Wales. Receding planes, general effect of atmosphere and lighting provide us with a print which makes up in pleasantness that which it lacks in strength.
"Archibald Fountain, Winter Morning", Richard V. Simpson, New South Wales. Bromoil print, in color and management of tonal values aptly depicts winter.
"Dry Weather", W.H. Moffitt, New South Wales. A zig-zag rail fence running up the center of the print, terminating at the farm shed, coupled with the color of this print and the bareness of the ground, conveys feelingly the anxiety of dry periods.
"No", Peter Lawrence, New South Wales. Bromoil transfer of miser holding money-bag. The look of anxiety on the face is very well done, but the posing of the figure is a little too strained.
"Squally", L.A. Baillot, Victoria. An intimate picture of a crying baby in a bath tub, with a tear rolling down one cheek. A synchronized flash-bulb shot.
"Yarra Boulevard", A.W. Briggs, Victoria. Remarkable is the use made of unpromising subject matter. The curve of the road and white railing impart a distinctive feeling of rhythm to a picture quite out of the ordinary.
A delightful piece of poetic rendering is "Spring", by W. Broadhead, Victoria. A dovecote with two white doves on top, shown against a typical spring sky, makes a print of delicate feeling.
"Skipper", Dr. S.O. Cowen, Victoria. A print of a black and white spaniel against a black ground. A pleasing portrait of the dog, and taken with due regard to the points of the breed.
"New Beads", Arthur Dickinson, Victoria. A lady of color with head thrown back, teeth showing in a wide-mouthed laugh, and in her hand the new beads. This print is a joy to look at. Flesh tones are glorious, and the rendering of pure white teeth against the dark face a masterly touch.
John B. Eaton FRPS, exhibits four prints of his own distinctive landscape style, the best of which is "Cattle Tracks", a picture too well known to need description.
"Vineyard Specimens", W. Howieson. My own personal choice of the best picture in the exhibition. A rough cast background, upon which hangs a cluster of ripe grapes, on a shelf beneath secateurs, gloves, and a ball of twine. An excellent example of perfection in lighting, composition, and texture, and an indication of the heights to which bromide printing can reach.
Dr. Harold Moore, Victoria, shows three prints, the best of which is "Mollyhawk", a study of a bird in flight against a cloud background.
"Australian Monarchs", William F. Owen FRPS, Victoria. Strong, warm tone print of Gum Trees, somewhat too dark, and not quite up to this worker’s usual standard.
"Midsummer", D.E. Rayward, Victoria. Here is a harvest scene, the upright stacks of grain balancing perfectly the distant hills and clouds.
Dr. Julian Smith, Victoria, is represented by four portrait studies, the best of which is No. 38, "Dick Swiveller”. Outstanding amongst the portraits, this large, warm-toned print in treatment is reminiscent of an old master, and leaves nothing to be desired.
A Portrait of H. Cazneaux by C. Stuart Tompkins ARPS, aptly expresses the character of the subject, and "The Dream", by the same worker, is a distinctive print.
"The Bridge", O.H. Coulson, Victoria, is in the nature of a vista picture, and gives an excellent rendering of sunlight.
"Dr. John Dale", by Spencer Shier FRPS, Victoria, and "Sunset on Mount Buller", both depict work of distinctive merit.
"Rain Lifting", SW. Eutrope, Queensland; "Hill top and Cloud", Jas. A. Murray, Queensland; "Cottage", J.H. Foster, Queensland, are all Bromoil prints of fine quality; also Mrs. Rose Simmonds shows three of her usual delicate Bromoils.
"To the Light”, P.N.L. Keuzekamp, Netherlands, gives us as a long, thin decorative panel a nude figure looking forward.
"Akt mit Spielball", Ramhab Gyula, Hungary. Glossy print of a perfectly composed nude study, the play ball held in extended arms above the head, balancing the bottom portion of the figure to perfection.
"The Model Rests", Heweart A. Snape, Queensland, and "Nude in Repose", Athol Shmith, Victoria, present in excellent style the only other two nude studies in the exhibition.
England is represented by a small but select number of prints.
"Ox Carts", Alec Keighley, England, gives to us a long panel form picture, in which the dark, peaceful surroundings are pleasingly relieved by sunlit white oxen.
"Miss Helen Jacobs", Dorothy Wilding, England, is a superb piece of pictorial portraiture. This figure of an attractive tennis player in shorts against a light background is not only excellent portraiture, but goes further in suggesting the poise and self-reliance of modern youth.
"Difficult Problem", Zoltan Kassai, Czechoslovakia. This worker exhibits four genre subjects, some what similar in their employment of children, sunlight and soft focus effect. "Difficult Problem” is a beautiful sunny print of a small child, with a large bucket, struggling up a flight of sunlit steps, and is outstanding in its illusion of depth.
"Composition", Miss Crete Popper, Czechoslovakia, is one of the outstanding still life prints exhibited. Two hands, supporting a bowl of fruit form the subject matter, the composition of a circular form imposed upon an inverted triangle being somewhat unusual. For strength of line, rendering of flesh tones, and surface texture this print would be hard to improve upon.
"Kompot", Bela Malanasy, Hungary, is best described as "juicy". A dish of dark plums in syrup, printed on glossy paper, realistic enough to provoke appetite. The same type of subject and treatment is to be seen in "Two Cobs of Maize", by Dr. Elema Kocsis, Hungary.
"Siesta", Erno Vadas, Hungary. The author of "Sturz” (the gold medal geese picture of last Salon) is represented by two prints, of which "Siesta", a pleasant study of three sleeping children, is outstanding.
"Dizzy Grapes", J. Dorin, America. A still life of a plate of grapes on a background of diagonal black and white lines is interesting, but is of the "stunt” type and is hard to look at.
"Tanks", Arthur C. Colwell, America. The placing of a white tank in sunlight against a black tank in shadow, produces a strong, bright print which is a decided note on the walls.
Many other prints are deserving of note, but limits of space and this magazine’s press time forbid.
A departure of note in this Salon is the Press Section. Hung in three parts, representing the different newspaper groups of Melbourne, the black and white glossy prints form a distinct and unusual note. Working against time, in most cases, the press photographer proves himself something more than a mere fact recorder. From the point of view of subject matter and interest, some of the exhibits in this section stand comparison with the best in the show.
Any anxiety that the Salon Committee may have felt in reference to public interest in the Salon has not been justified. Attendances are greater than at the Centenary Salon; at times it is difficult to approach the exhibits at all and the four open nights are proving popular.
All concerned are to be congratulated upon presenting to the public an exhibition of interest and instructional merit.