The preparation of this and the past three issues has been most instructive to those writers and photographers whose work pertained to the experiencing of photographs. And all of us are aware that the various articles on the subject are about as definitive as a fog.
Human beings are able to invent a vocabulary for any difficult subject that sufficiently arouses their interest. They do this for their gods, their sciences, their taboos and their arts. Among civilized persons an art without a literature is a naked art and raw.
philip hyde prefers to put his pictures to the purposes of Conservation. It is a constant fight to keep the lesser known national parks in the public domain, and photography by those who love the country and know how to photograph its beauty must always be on hand to help.
2 WHAT KIND OF A PHOTOGRAPH ASKS TO BE EXPERIENCED?
3 DOCUMENTARY, PICTORIAL, INFORMATIONAL, OR SOME OTHER KIND? THAT IS THE QUESTION
4 BECAUSE ALL PHOTOGRAPHS ARE HERE TOSSED INTO FOUR PILES
5 FOR EACH OF THE CLASSES AN APPROPRIATE METHOD
WE WISH WE WERE SURE OF A METHOD FOR EXPERIENCING EQUIVALENTS
Here is an outline of steps for the experiencing of photographs which, while tentative, experimental in many respects, has proven workable enough in the classroom to be usable by anyone who is willing to apply the methods with discretion and uncommon sense
A fine new photographic, 192 page, 200 picture annual appeared this year from the American Society of Magazine Photographers called PICTURE. Herein ASMP publishes photographs, officially the best picture stories, or favorites accompanied by personal statements by 36 of its over 400 members—all professionals.
Sponsored by the Linwood Music School on acreage thirty miles South of Rochester, New York, this workshop will be conducted by Minor White, photography instructor at the Rochester Institute of Technology and editor of aperture. This six day workshop is open to amateurs, professionals and students.