Identifier: americanannualof36newy (find matches)
Title: The American annual of photography
Year: 1922 (1920s)
Authors:
Subjects: Photography
Publisher: New York : Tennant and Ward
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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crudely sensitized, and requiring long ex-posures ; and the printing mediums available were so crudethat it is only with the development of such processes as photo-gravure and gum-platinum that the full merit of Hills workhas been appreciated. In consequence of the primitive char-acter of Hills materials, his exposures ranged in the neighbor-hood of four or five minutes, and to secure full exposure evenwith this long time he was obliged to pose his sitters out ofdoors, generally in a full blaze of direct sunlight. With the development of faster lenses and more rapid platesphotography, so far as portrait work is concerned, became anindoor sport, and when some unthinking copy-cat built him astudio with a north sky-light the path first traveled by Hilldeteriorated into a little-used trail; gradually the convictiongrew among photographers that the place to do portrait workwas in a studio, and it was many years before the daringamateur rushed in where more experienced workers feared to 146
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OUTDOOR PORTRAIT. PAUL L. ANDERSON. 147 tread, and proved that equally good—and often better—por-traits could be produced in home surroundings. Even yetthere is a feeling against doing portrait work outdoors, andthe writer has heard a well-known photographer declare flatlythat it was impossible to produce satisfactory portraits in anoutdoor light. It is by no means impossible to do so; Hill proved this con-clusively, and a few more recent workers have added to hisoriginal demonstration, but it remains somewhat more diffi-cult. It is, however, unquestionably the case that in many in-stances outdoor portraiture shows a quality which is utterlyunobtainable indoors, and is therefore more satisfying. Thewriter does not mean to claim that all portrait work shouldbe done outdoors; the home and the studio both furnish satis-factory settings, and magnificent work has been done in bothplaces, but he does mean to say that it is a mistake for cameraworkers to confine themselves within four wa

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