Chapter 2

The progress of pictorial photography in Maryland is to be ascertained by an examination of the progress of the amateur in Baltimore, for aside from the local exhibitions we have no record of anything done in the State. While this condition is regrettable and hard to comprehend in an art-loving center of such population, there is none the less an improvement over former times.

The shops and the “finishers” have prospered, while the club—the old organization in which the reason of being has been lost in a maze of constitutional amendments, by-laws, and such like red tape—has declined in influence and popularity. In the world at large, pictorial photography has grown amazingly. This has led to a more pronounced line of demarkation between the dilettante and the intelligent worker of appreciation, with the balance of influence inclining strongly to the latter. In Maryland there has been an upheaval, a photographic revolution, so to speak, and out of the wreckage has sprung the Photographic Guild of Baltimore, which has done more to put Maryland photographically to the fore in its five years of activity than had been done in all the years previous. It was due almost entirely to Guilders that Maryland stood fourth at the recent Pittsburgh Salon. Two prerequisites to membership in the Guild are ability in keeping with the highest standards and _productiveness_, as a consequence of which it has only six members, who may be said to comprise the representative pictorialists of the State.

For the past four years there has been an annual exhibition under the auspices of the Guild at the Peabody Gallery, each well attended by the art-loving public, with marked enthusiasm for what is being done with the process. A feature of the Guild exhibitions, beginning with the 1919 portfolio recently hung, is the invited work of out-of-town amateurs, which is giving Baltimoreans a wider and better knowledge. While this exhibition has not assumed salon proportions, it will in a measure bring the salons to Baltimore if help in the way of prints from outside is forthcoming, as we hope and believe will be the case.

On the whole, it may be truly said that the flexibility and responsiveness of the photographic process have been sufficiently demonstrated to fix it firmly among the art mediums.

*

MIDDLE WEST ACTIVITIES AND THE PITTSBURGH SALON

_By_ W. H. PORTERFIELD

Any article describing the activity in pictorial photography in the United States since 1914 must include a history of the work of the Pittsburgh Salon, and that has been very thoroughly covered in magazine articles immediately succeeding the close of each salon.

At the outbreak of the war, the thoughts and energies of many of our foremost workers were directed toward other fields, and those who still practiced the work for the art side of it did so under difficulties.

The governmental restrictions placed on the use of the camera in ports and about all public buildings, and in many sections of nearly every city, naturally had a tendency to discourage workers, but in spite of all the obstacles in the path of the art photographer the years have not been barren.

Some of the older societies have all but ceased to exist, if one can judge by their contributions to the salons.

Each year has witnessed new names among the exhibitors at Pittsburgh, and to an already formidable list there are annually added more than enough names to fill the vacancies caused by the dropping of former members who have failed to retain their membership due to non-compliance with the rules which automatically eliminate inactives.

After six years of unprecedented success it may safely be said that the Pittsburgh Salon has become a permanent fixture in the world of photographic art and has unquestionably rendered a most valuable service in keeping alive the exhibition spirit.

Mention should also be made of the good work done by the Chicago Photo-Fellows, the Buffalo Camera Club, the Photographic Guild of Baltimore, and the Photographic Section of the Pittsburgh Academy of Fine Arts, each one composed of enthusiasts, who loyally support the American and London Salons as well as being active workers in the Pictorial Photographers of America.

These societies have been continually engaged in the promotion of inter-club exhibitions as well as in encouraging the circulation of work of individual members.

As an educational feature the club interchange has no equal.

*

PICTORIAL PHOTOGRAPHY IN THE FAR WEST

_By_ JOHN PAUL EDWARDS

The progress of pictorial photography in the Far West can be aptly compared with the settlement and growth of this big new country itself. We have had our pictorial pioneers, as it were—our hard-working, enthusiastic, rather crude first settlers in the art; now we have come to the stage of permanent abode, with traditions, albeit young, great enthusiasm, definite ideals, and ambitious hopes for the future.

The one great asset in the upbuilding of the West has been boundless enthusiasm. This characteristic trait dominates the very soul of the Western pictorialist. In it lies his greatest hope for the future progress in his chosen field of art.

It is this live energy and enthusiasm which brings him out afield even before break of day, which leads him over hill and dale, mountain and valley, in his insatiable quest for the pictorial. Miles are as nothing; hunger stays him not; nor rests he at night until his potential treasures are developed and their beauties appraised.

The purpose of this preliminary psychologic analysis is to explain the militant attitude of the Western pictorialist in his pursuit of the art of the camera. His extremely prolific production, manifesting itself in liberal contributions to the salons and exhibitions of the world photographic, rises not from vanity but from super-enthusiasm—from the great joy he derives in making his picture, from the creation of the beautiful, and from the playing of the game as it is best played.

Without losing a whit of the steady enthusiasm which has brought it to its present encouraging stage, Western pictorial photography is, nevertheless, settling down to a more staid and intellectual plane of progress.

The broad average of quality of work is steadily improving. Better standards have been established. The workers are “finding” themselves. Enthusiasm is being beneficently tempered by increased technical skill, and more particularly by the intellectual development of the art side of the work.

And so the future of pictorial photography in the Far West looks exceedingly bright. The salon workers of the past five or ten years are with few exceptions as keen as ever for their art, and a very talented and numerous lot of new workers are coming to the front.

The center, in fact the stronghold, of Western pictorial photography is undoubtedly California. All forms of art seem to flourish mightily in this genial clime of wondrous, colorful beauty. A land of smiling sunshine, of lofty snow-capped peaks, of weird trees, of golden poppy-covered slopes, of sparkling seas—it is small wonder that the young art of the camera should thrive so vigorously there.

There are several active foci of pictorial interest in the State. The most active and most promising of these centers is the Camera Pictorialists of Los Angeles. This club, as we may call it, has a membership of fourteen under the directorship of Louis Fleckenstein. Every member is an active worker of ability and promise. This group has made an imposing representation in nearly every photographic salon of recent years.

They are sponsors for the International Photographic Salon held annually in the municipal art gallery of Los Angeles. This exhibition, with two years of success behind it, must be rated as the premier event of its kind in the West, and, in the quality of its offerings, second to none on the continent.

While this is the only prominent group in California organized for strictly pictorial work, there are a great many independent workers widely scattered about the State. San Francisco and the bay region can claim a score or more whose achievements have been notable.

Oregon has many enthusiastic workers and a strong club in Portland. Washington likewise has many camera artists of talent. Both these States have an untold wealth of pictorial material and many keen pictorialists. All they lack is an active leader or two to bring them to the rank they should hold in the photographic world.

In Salt Lake City we find an active, enthusiastic and very promising group of workers under the able leadership of Thomas O. Sheckell. Through the medium of an extensive series of one-man exhibitions they have brought before the art-loving public of their city the best work of a large number of our leading pictorialists.

One of the most interesting and auspicious developments of the year has been the recent formation of the Pacific Coast Chapter of the Pictorial Photographers of America.

For very logical reasons the chief activities of the parent body of the Pictorial Photographers of America have been centered in the City of New York. An earnest desire to enjoy like activities right at home while still sharing the privileges of direct affiliation with our fellows of the Pictorial Photographers of America led to the formation of the Pacific Coast Chapter. The idea is still young, but the success of the chapter is definitely assured by the strong character of the membership already secured. It is the purpose of the chapter to uphold strongly the purposes and ideals of its parent body and to work continuously for the advancement of pictorial photography in the West. A number of interesting exhibitions are scheduled for the near future, the most important of these being the “All Western” exhibition, which is planned for the fall and winter of 1919-20. The aim is to include the best pictorial photography of the West. It will be shown first in New York by the Pictorial Photographers of America and then routed through some of the more representative clubs of the East and Middle West.

ILLUSTRATIONS

[APRIL FLURRIES, By W. A. Alcock, Brooklyn, N.Y.]

APRIL FLURRIES _By _W. A. ALCOCK, _Brooklyn, N.Y._

[PUCKACHIPE—SEAGULL, By Elizabeth R. Allen, Moorestown, N.J.]

PUCKACHIPE—SEAGULL _By _ELIZABETH R. ALLEN, _Moorestown, N.J._

[MY LITTLE GRAY HOME IN THE WEST, By George M. Allen, Portland, Ore.]

MY LITTLE GRAY HOME IN THE WEST _By _GEORGE M. ALLEN, _Portland, Ore._

[THE BUDDHA, By Fred R. Archer, Los Angeles, Cal.]

THE BUDDHA _By _FRED R. ARCHER, _Los Angeles, Cal._

[ISLANDERS, By Laura Adams Armer, Berkeley, Cal.]

ISLANDERS _By _LAURA ADAMS ARMER, _Berkeley, Cal._

[ANN SPENCER, By Jessie Tarbox Beals, New York]

ANN SPENCER _By _JESSIE TARBOX BEALS, _New York_

[EARLY MORNING, By David W. Bonnar, Buffalo, N. Y.]

EARLY MORNING _By _DAVID W. BONNAR, _Buffalo, N. Y._

[A BIT OF HOME LIFE, By Will D. Brodhun, Wilkes-Barre, Pa.]

A BIT OF HOME LIFE _By _WILL D. BRODHUN, _Wilkes-Barre, Pa._

[A MOMENT’S REST, By Gertrude L. Brown, Evanston, Ill.]

A MOMENT’S REST _By _GERTRUDE L. BROWN, _Evanston, Ill._

[DANCERS, By John C. Burkhardt, Portland, Ore.]

DANCERS _By _JOHN C. BURKHARDT, _Portland, Ore._

[DOUARNENEZ, FINISTÈRE, By Dr. A. D. Chaffee, New York]

DOUARNENEZ, FINISTÈRE _By _DR. A. D. CHAFFEE, _New York_

[RHEIMS, By Arthur D. Chapman, New York]

RHEIMS _By _ARTHUR D. CHAPMAN, _New York_

[MICHIO ITORO, By Alvin Langdon Colburn, New York]

MICHIO ITORO _By _ALVIN LANGDON COLBURN, _New York_

[THE STREET, By Alfred Cohn, Brooklyn, N. Y.]

THE STREET _By _ALFRED COHN, _Brooklyn, N. Y._

[ST. JOHN’S CATHEDRAL, By James Copella, New York]

ST. JOHN’S CATHEDRAL _By _JAMES COPELLA, _New York_

[MR. MATSUMOTO KOSHIRO AS “TCHIKAWA GOYEMON” (THE ROBIN HOOD OF JAPAN), By C. P. Crowther, Kobe, Japan]

MR. MATSUMOTO KOSHIRO AS “TCHIKAWA GOYEMON” (THE ROBIN HOOD OF JAPAN) _By _C. P. CROWTHER, _Kobe, Japan_

[SPRING O’ THE YEAR, By Helen W. Drew, Montclair, N. J.]

SPRING O’ THE YEAR _By _HELEN W. DREW, _Montclair, N. J._

[THE LIFTING MIST, By Jerry D. Drew, Montclair, N. J.]

THE LIFTING MIST _By _JERRY D. DREW, _Montclair, N. J._

[THE DOORWAY, By Dwight A. Davis, Worcester, Mass.]

THE DOORWAY _By _DWIGHT A. DAVIS, _Worcester, Mass._

[HIGH BRIDGE, By Edward R. Dickson, New York City]

HIGH BRIDGE _By _EDWARD R. DICKSON, _New York City_

[MRS. VERNON CASTLE, By De Meyer, New York]

MRS. VERNON CASTLE _By _DE MEYER, _New York_

[BOATS, By E. G. Dunning, New York]

BOATS _By _E. G. DUNNING, _New York_

[COMING TO SCHOOL, By Vernon Everett Duroc, Brooklyn, N. Y.]

COMING TO SCHOOL _By _VERNON EVERETT DUROC, _Brooklyn, N. Y._

[STUDY, By William B. Dyer, Portland, Ore.]

STUDY _By _WILLIAM B. DYER, _Portland, Ore._

[DESIGN FOR A TAPESTRY, By John Paul Edwards, Sacramento, Cal.]

DESIGN FOR A TAPESTRY _By _JOHN PAUL EDWARDS, _Sacramento, Cal._

[STUDY, By Adelaide Wallach Ehrich, New York]

STUDY _By _ADELAIDE WALLACH EHRICH, _New York_

[LANDSCAPE, By Eleanor C. Erving, Albany, N. Y.]

LANDSCAPE _By _ELEANOR C. ERVING, _Albany, N. Y._

[SUGARLOAF MOUNTAIN, By W. H. Evans, Wilkes-Barre, Pa.]

SUGARLOAF MOUNTAIN _By _W. H. EVANS, _Wilkes-Barre, Pa._

[SIDEWALK TREASURES, By O. E. Fischer, M. D., Detroit, Mich.]

SIDEWALK TREASURES _By _O. E. FISCHER, M. D., _Detroit, Mich._

[THE GIRL FROM DELHI, By Louis Fleckenstein, Los Angeles, Cal.]

THE GIRL FROM DELHI _By _LOUIS FLECKENSTEIN, _Los Angeles, Cal._

[FIFTY YEARS, By Frederick Frittita, Baltimore, Md.]

FIFTY YEARS _By _FREDERICK FRITTITA, _Baltimore, Md._

[WATER SCENE, By John Wallace Gillies, New York]

WATER SCENE _By _JOHN WALLACE GILLIES, _New York_

[THE MARBLE CUTTERS, By Laura Gilpin, Colorado Springs, Col.]

THE MARBLE CUTTERS _By _LAURA GILPIN, _Colorado Springs, Col._

[WALPI, By Forman Hanna, Globe, Ariz.]

WALPI _By _FORMAN HANNA, _Globe, Ariz._

[THE SHORE LINE, By G. H. S. Harding, Berkeley, Cal.]

THE SHORE LINE _By _G. H. S. HARDING, _Berkeley, Cal._

[APRIL SNOW, By Edward Heim, New York]

APRIL SNOW _By _EDWARD HEIM, _New York_

[DAY DREAMS, By G. W. Harting, New York]

DAY DREAMS _By _G. W. HARTING, _New York_

[IN THE ARBOR, By Antoinette B. Hervey, New York]

IN THE ARBOR _By _ANTOINETTE B. HERVEY, _New York_

[MISS H., By George Henry High, Chicago, Ill.]

MISS H. _By _GEORGE HENRY HIGH, _Chicago, Ill._

[SUNSHINE, By L. Willis Hoops, New York]

SUNSHINE _By _L. WILLIS HOOPS, _New York_

[THE WHITE HAT, By G. B. Hollister, Corning, N. Y.]

THE WHITE HAT _By _G. B. HOLLISTER, _Corning, N. Y._

[DESIGN, By Bernard S. Horne, Princeton, N. J.]

DESIGN _By _BERNARD S. HORNE, _Princeton, N. J._

[CITY STREET, By Blanche C. Hungerford (Mrs. Latimer), High Bridge, N. J.]

CITY STREET _By _BLANCHE C. HUNGERFORD (MRS. LATIMER), _High Bridge, N. J._

[COLUMBIA UNIVERSITY, By Dr. Charles H. Jaeger, New York]

COLUMBIA UNIVERSITY _By _DR. CHARLES H. JAEGER, _New York_

[PORTRAIT OF A CHILD, By Doris U. Jaeger, New York]

PORTRAIT OF A CHILD _By _DORIS U. JAEGER, _New York_

[THE VALE OF THE SHADOW, By Arthur F. Kales, Los Angeles, Cal.]

THE VALE OF THE SHADOW _By _ARTHUR F. KALES, _Los Angeles, Cal._

[PORTRAIT, By Gertrude Kasebier, New York]

PORTRAIT _By _GERTRUDE KASEBIER, _New York_

[OLD HILL TOWN, By William Kriebel, Philadelphia, Pa.]

OLD HILL TOWN _By _WILLIAM KRIEBEL, _Philadelphia, Pa._

[SOLITUDE, By W. R. Latimer, High Bridge, N. J.]

SOLITUDE _By _W. R. LATIMER, _High Bridge, N. J._

[ELLEN, By Sophie L. Lauffer, Brooklyn, N. Y.]

ELLEN _By _SOPHIE L. LAUFFER, _Brooklyn, N. Y._

[MASTER JOHN SPEER, By George P. Lester, Bloomfield, N. J.]

MASTER JOHN SPEER _By _GEORGE P. LESTER, _Bloomfield, N. J._

[MOUNT ADAMS OF THE NORTHERN LAKES, By Francis Orville Libby, Portland, Me.]

MOUNT ADAMS OF THE NORTHERN LAKES _By _FRANCIS ORVILLE LIBBY, _Portland, Me._

[MISTS TO-DAY—CLEAR ANON, By Edwin Loker, St. Louis, Mo.]

MISTS TO-DAY—CLEAR ANON _By _EDWIN LOKER, _St. Louis, Mo._

[TREES AND CLOUDS, By Dr. William F. Makk, Los Angeles, Cal.]

TREES AND CLOUDS _By _DR. WILLIAM F. MAKK, _Los Angeles, Cal._

[PLAYER ON THE YIT-KIM, By Margrethe Mather, Los Angeles, Cal.]

PLAYER ON THE YIT-KIM _By _MARGRETHE MATHER, _Los Angeles, Cal._

[ON LAKE PATZCUARO, MEXICO, By Oscar Maurer, Los Angeles, Cal.]

ON LAKE PATZCUARO, MEXICO _By _OSCAR MAURER, _Los Angeles, Cal._

[ALONG THE WHARF, By Holmes I. Mettee, Baltimore, Md.]

ALONG THE WHARF _By _HOLMES I. METTEE, _Baltimore, Md._

[THE MARSH—EVENING, By J. George Midgley, Salt Lake City, Utah]

THE MARSH—EVENING _By _J. GEORGE MIDGLEY, _Salt Lake City, Utah_

[THE DANCER, By H. W. Minns, Akron, Ohio]

THE DANCER _By _H. W. MINNS, _Akron, Ohio_

[SNOW PATTERN, By H. Remick Neeson, Baltimore, Md.]

SNOW PATTERN _By _H. REMICK NEESON, _Baltimore, Md._

[THE FARMER, By Henry Hoyt Moore, Brooklyn, N. Y.]

THE FARMER _By _HENRY HOYT MOORE, _Brooklyn, N. Y._

[STEAM UP, By J. W. Newton, Columbus, Ohio]

STEAM UP _By _J. W. NEWTON, _Columbus, Ohio_

[EVE REPENTENT, By Imogen Cunningham Partridge, San Francisco, Cal.]

EVE REPENTENT _By _IMOGEN CUNNINGHAM PARTRIDGE, _San Francisco, Cal._

[SWANS, By G. Houson Payne, Jr., Baltimore, Md.]

SWANS _By _G. HOUSON PAYNE, JR., _Baltimore, Md._

[MOTHER AND CHILD, By Margaret Rhodes Peattie, Chicago, Ill.]

MOTHER AND CHILD _By _MARGARET RHODES PEATTIE, _Chicago, Ill._

[PLACING A PICTURE, By Leo Pokras, Brooklyn, N. Y.]

PLACING A PICTURE _By _LEO POKRAS, _Brooklyn, N. Y._

[TWILIGHT’S MYSTERY, By W. H. Porterfield, Buffalo, N. Y.]

TWILIGHT’S MYSTERY _By _W. H. PORTERFIELD, _Buffalo, N. Y._

[THE MORNING BOAT, By E. M. Pratt, Tracy, Cal.]

THE MORNING BOAT _By _E. M. PRATT, _Tracy, Cal._

[SWEET SIXTEEN, By Mrs. William H. Rau, Philadelphia, Pa.]

SWEET SIXTEEN _By _MRS. WILLIAM H. RAU, _Philadelphia, Pa._

[MOTHER, By Jane Reece, Dayton, Ohio]

MOTHER _By _JANE REECE, _Dayton, Ohio_

[THE HUSBANDMAN, By O. C. Reiter, Pittsburgh, Pa.]

THE HUSBANDMAN _By _O. C. REITER, _Pittsburgh, Pa._

[THE LAST OF HIS RACE, By L. M. A. Roy, La Crosse, Wis.]

THE LAST OF HIS RACE _By _L. M. A. ROY, _La Crosse, Wis._

[PENNSYLVANIA STATION, NEW YORK, By Dr. D. J. Ruzicka, New York]

PENNSYLVANIA STATION, NEW YORK _By _DR. D. J. RUZICKA, _New York_

[A GLIMPSE OF PLEASANT VALLEY, By J. G. Sarvent, Kansas City, Mo.]

A GLIMPSE OF PLEASANT VALLEY _By _J. G. SARVENT, _Kansas City, Mo._

[THE VALLEY BEYOND OUR HILL, By Otto C. Shulte, San Franciso, Cal.]

THE VALLEY BEYOND OUR HILL _By _OTTO C. SHULTE, _San Franciso, Cal._

[ELYSIAN PARK VISTA, By David J. Sheahan, Los Angeles, Cal.]

ELYSIAN PARK VISTA _By _DAVID J. SHEAHAN, _Los Angeles, Cal._

[IN THE FOOTHILLS OF THE WASATCH, By Thomas O. Sheckell, Salt Lake City, Utah]

IN THE FOOTHILLS OF THE WASATCH _By _THOMAS O. SHECKELL, _Salt Lake City, Utah_

[DOORWAY OF ST. PATRICK’S CATHEDRAL, By William Gordon Shields, New York]

DOORWAY OF ST. PATRICK’S CATHEDRAL _By _WILLIAM GORDON SHIELDS, _New York_

[PORTRAIT, By Mrs. Sterling Smith, San Diego, Cal.]

PORTRAIT _By _MRS. STERLING SMITH, _San Diego, Cal._

[THE COLUMNS, By E. Radiker Standcliff, Elmira, N. Y.]

THE COLUMNS _By _E. RADIKER STANDCLIFF, _Elmira, N. Y._

[TOWARD TAMALPAIS, By W. H. Stephens, San Franciso, Cal.]

TOWARD TAMALPAIS _By _W. H. STEPHENS, _San Franciso, Cal._

[MAE MURRAY, By Ford Sterling, Los Angeles, Cal.]

MAE MURRAY _By _FORD STERLING, _Los Angeles, Cal._

[MARGARET, By John H. Stocksdale, Baltimore, Md.]

MARGARET _By _JOHN H. STOCKSDALE, _Baltimore, Md._

[THE CANAL, By M. Sugimoto, New York]

THE CANAL _By _M. SUGIMOTO, _New York_

[STILL LIFE, By Elizabeth Talcott, Elmwood, Conn.]

STILL LIFE _By _ELIZABETH TALCOTT, _Elmwood, Conn._

[THE HOUSE O’ DREAMS, By William H. Thompson, Hartford, Conn.]

THE HOUSE O’ DREAMS _By _WILLIAM H. THOMPSON, _Hartford, Conn._

[WITH FACE SET TOWARD THE WESTERN FRONT, By Lieut. Edward Larocque Tinker, U. S. N.,New York]

WITH FACE SET TOWARD THE WESTERN FRONT _By _LIEUT. EDWARD LAROCQUE TINKER, U. S. N., _New York_

[SHIFTING SAND, By Charles Vandervelde, Grand Rapids, Mich.]

SHIFTING SAND _By _CHARLES VANDERVELDE, _Grand Rapids, Mich._

[RUTH ST. DENIS, By the late Lieut. Luke R. Vickers, Church Creek, Md.]

RUTH ST. DENIS _By _THE LATE LIEUT. LUKE R. VICKERS, _Church Creek, Md._

[THE NEW YEAR’S EDITION, By Will H. Walker, Portland, Ore.]

THE NEW YEAR’S EDITION _By _WILL H. WALKER, _Portland, Ore._

[GIRL WITH THE FAN, By Mabel Watson, Pasadena, Cal.]

GIRL WITH THE FAN _By _MABEL WATSON, _Pasadena, Cal._

[ELEANOR, By Delight Weston, Blue Hill, Me.]

ELEANOR _By _DELIGHT WESTON, _Blue Hill, Me._

[EPILOGUE, By Edward Weston, Glendale, Cal.]

EPILOGUE _By _EDWARD WESTON, _Glendale, Cal._

[MRS. M., By Leonard Westphalen, Chicago, Ill.]

MRS. M. _By _LEONARD WESTPHALEN, _Chicago, Ill._

[THE FAMILY, By Clarence H. White, New York]

THE FAMILY _By _CLARENCE H. WHITE, _New York_

[THE FLOWER GARDEN, By Cornelia F. White, New York]

THE FLOWER GARDEN _By _CORNELIA F. WHITE, _New York_

[THROUGH THE WINDOW, By Hazel Jane Wiegner, Philadelphia, Pa.]

THROUGH THE WINDOW _By _HAZEL JANE WIEGNER, _Philadelphia, Pa._

[MARIONETTE, By Edith R. Wilson, Mount Vernon, N. Y.]

MARIONETTE _By _EDITH R. WILSON, _Mount Vernon, N. Y._

[JEAN, By Mildred R. Wilson, Orange, N. J.]

JEAN _By _MILDRED R. WILSON, _Orange, N. J._

[CITY BEYOND, By N. S. Wooldridge, Pittsburgh, Pa.]

CITY BEYOND _By _N. S. WOOLDRIDGE, _Pittsburgh, Pa._

THE FOLLOWING IS A PARTIAL LIST OF PHOTOGRAPHIC ORGANIZATIONS IN AMERICA WHICH ARE ENCOURAGING PICTORIAL PHOTOGRAPHY

Bangor Society of Art Bangor, Me.

Boston Y. M. C. U. Camera Club 48 Boylston Street, Boston, Mass.

Brooklyn Institute of Arts and Science, _Photographic Section_ Academy of Music Building, Brooklyn, N. Y.

Buffalo Camera Club Kinne Building, corner Main and Utica Streets, Buffalo, N. Y.

California Camera Club 833 Market Street, San Francisco, Cal.

Camera Club 121 West 68th Street, New York City

Camera Club of Detroit 513-515 Kresge Building, West Grand Circus Park, Detroit, Mich.

Camera Pictorialists of Los Angeles 415 Blanchard Building, Los Angeles, Cal.