Pictorial Photography in America 1921THE YEAR'S PROGRESSReading editionChapter navigation36 reading sectionsGo to chapterChoose a chapter…Front matterIllustrationsPAINTING WITH LIGHTTHE YEAR'S PROGRESSAn Interview with Henry Hoyt MooreAmerican Photographers Set the PaceThe Soft Focus LensNo One Lens Is SufficientSoftness Desirable, Not FuzzinessProfessional Photography Influenced by that of the PictorialistThe Popular MediumsColor PhotographyThe “Secret” Is the ArtistHand Work vs. Straight PrintsCommercial Possibilities for Pictorial WorkAirplane PhotographyElaborate Apparatus Not Always NecessaryHow Mr. White Judges a PhotographMotion Pictures and the Soft Focus LensIs Photography to Remain a Black and White Art?Dr. Chaffee Tells How He Makes Bromoils—With ReservationsEvaded the Statute, but Made a PictureA Few Beliefs of a Negative TendencyPhotographing on a Rainy DayHow a “Rembrandt” Was MadeHe Thought She Was CrazyThe Last of the Square RiggersAs to Certain Soft Focus LensesMr. Latimer Expresses His Views Somewhat at LengthNight Pictures in the StreetsHow to “Work Up” a NegativeAn Experience with a Railway DetectiveFrom a “Bathroom” ExpertMr. White's Method with ChildrenDragging a View Camera Through the SandsThe PICTORIAL PHOTOGRAPHERS of AMERICAPrevious chapter ←PAINTING WITH LIGHTNext chapter →An Interview with Henry Hoyt MooreAll chapters and sections (36)Opening pagesFront matterOther sectionsIllustrationsPAINTING WITH LIGHTTHE YEAR'S PROGRESSAn Interview with Henry Hoyt MooreAmerican Photographers Set the PaceThe Soft Focus LensNo One Lens Is SufficientSoftness Desirable, Not FuzzinessProfessional Photography Influenced by that of the PictorialistThe Popular MediumsColor PhotographyThe “Secret” Is the ArtistHand Work vs. Straight PrintsCommercial Possibilities for Pictorial WorkAirplane PhotographyElaborate Apparatus Not Always NecessaryHow Mr. White Judges a PhotographMotion Pictures and the Soft Focus LensIs Photography to Remain a Black and White Art?Dr. Chaffee Tells How He Makes Bromoils—With ReservationsEvaded the Statute, but Made a PictureA Few Beliefs of a Negative TendencyPhotographing on a Rainy DayHow a “Rembrandt” Was MadeHe Thought She Was CrazyThe Last of the Square RiggersAs to Certain Soft Focus LensesMr. Latimer Expresses His Views Somewhat at LengthNight Pictures in the StreetsHow to “Work Up” a NegativeAn Experience with a Railway DetectiveFrom a “Bathroom” ExpertMr. White's Method with ChildrenDragging a View Camera Through the SandsThe PICTORIAL PHOTOGRAPHERS of AMERICABy Clarence H. White◇← PAINTING WITH LIGHTAn Interview with Henry Hoyt Moore →