aperture seeks the answer to the question "Why does one make a photograph?" not to "How does one make a photograph?" We hold that technique is the servant, not the master, of the photographer. aperture is unconcerned with cameras for the camera's sake, gadgets for the gadget's sake, or photochemistry for itself.
Photography today appears to be in a state of flight. This is clearly a harsh judgment. Some will feel it to be a false judgment; others will think it clumsy or ill-considered. But still others may feel it to have merit. They, perhaps less devoutly enlisted in this or that photographic cause, may find in their uncertainties a reason to believe the judgment sound.
The following is a near exact account of certain conversations which never took place. Persons involved: Myself, hereafter referred to as, I. The Inquirer, hereafter Inq. The Inquirer is a creature of no particular sort overall but which at a given utterance might appear as;
Strange as it may seem there are many photographers whose picture sense is oriented towards painting more than photography. Mr. Feininger is one of these; altho he champions the physical-chemical alterations of the image over the hand methods he still thinks as if painting practice were his lode star.
Too often prize money goes to the once-in-a-lifetime photograph or painting. This can be downright destructive to the recipient who gets sudden recognition where none is warranted. While the money is usually considered well spent as advertising, the same money could buy more, namely encouragement to the career artist in photography—or whatever media.
DOROTHEA LANGE is one of the prominent figures in American photography. Chough for some years she maintained a successful studio in San Francisco, in 1934 she relinquished her commercial work to enter the documentary field. Since then she has worked for a number of Government agencies, including the Office of War Information, the State Department, and, of course, the celebrated Farm Security Administration.