long in shape, and moves diagonally. It therefore should be represented, if possible, as in this case, in its full length and in a slanting position, and not in a perspective view.

Fig. 100, "Solitude," by Laura Adams Armer is a go-between of a landscape and figure composition. It is meant as a figure composition, and the draped vision (resembling some female Dante) is treated with utmost care. It is neither. For a figure composition the woman is entirely too small, and for a landscape composition the treatment of the background is too monotonous. And yet it is interesting for the clever use of a small white spot against the unusually large area of a dark tint. Somehow she has ac

SHELLING PEAS.

(Fig. 94) Alfred Stieglitz. complished her intention of producing a poetic impression in the beholder. The low diagonal division cutting into the figure and dividing the entire surface into a triangular middle tint, a white spot, and a dark plane is exceedingly clever. I believe the success of the effect is entirely dependent on the placing of the figure. It is just in the right place.

"The Madonna of the Peach Tree" (Fig. 99), by Annie W. Brigman, is quite an unusual composition. It is an odd version of the Japanese vista idea, but I do not consider it particularly advisable to arrange an upright framelike shape within an upright frame. As it is, it represents a combination of an interior and out-of-doors scene. The lighting is skilful and really makes the

picture. But both figure and background are too indistinct to convey anything but a confused idea of the meaning of the picture. The straight angular shape of the figure was the only one possible that would harmonize with the decided vertical and horizontal lines of the

open doorway. Pictorial photographers of this kind should be encouraged; they at least show an ambitious effort, a desire to experiment and to utilize the principles of composition for some new combination.

I wonder if my readers have noticed that nearly all the figures in the illustrations accompanying this article carry out the triangular idea, or the quadrilateral shape with a triangular top as explained in Diag. 35. The only exceptions are Figs. 95, 97, and 99. Even

WINTER TIME.

(Fig. 86)

Figs. 89 and 94 are really triangular shapes. This is no mere coincidence. As stated before they are the typical forms, and occur in 70 per cent. of all pictures. I merely mention this again, as I want to lay special emphasis in these discussions upon the fundamental, most universal principles and forms. If we have a thorough knowledge of these, it will be comparatively easy to branch out and to make ourselves familiar and finally master all these vaguer and subtler elements of composition, that no book on composition can teach. They are entirely dependent on instinct, intuition, good taste, call it whatever you choose, but these qualities nobody has ever and nobody will ever possess without these principles and forms that have guided and made pictorial representation what it is to-day.

A SUGGESTION.

BY A. S. K. HOLBROOK.

HERE are thousands of people who are subscribers to the numerous monthly magazines, who do not go to the trouble and expense of having them bound, and, after being once read, are relegated to the book shelves, there to remain until the year (or volume), is completed. Then, perhaps, they are taken down and again looked through, and, in so doing, the owner's eye catches an article in one of the numbers that draws his attention and makes him think that there is "something in them, after all," and, as one thing brings on another, he looks for the "index" usually found in the last number of the volume, or year, and finds that another article upon the same subject, is to be found on page 216; but, to find in which monthly number that particular page is to be found, entails a lot of "pawing over" the whole series. On a sheet of paper, I make an index of my own, giving the pages contained in each and every month, as follows:

Fasten this in the number containing the index, and facing it, so that it gives a ready reference as to the number of the page wanted, in each and every one of the monthly parts.

Then suppose you wish to look up an article upon "Reducing," you find by reference to the general index, that the subject is treated on page 327, and by reference to the monthly index, find that page 327 is in the September number and the article is thus easily found.

This idea may not be original, but from experience, I know that there are plenty of readers who do not take the trouble to look up the various articles simply because of the searching required, and which this "system" makes an easy task.

Editorial Notes

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VER mindful of our subscribers' interests, we have decided to enlarge upon our offer to contributors to our "Discoveries" department. Heretofore to each accepted contribution to this department, whether large or small, with or without diagrams or illustrations, we have given One Dollar. Commencing with this issue we will allow each contributor to the "Discoveries" department one year's subscription to THE PHOTOGRAPHIC TIMES. If already a subscriber, to credit them with another year's subscription, or, if they wish it, we will forward it to any person they wish. We feel quite sure that this will be quite agreeably and favorably thought of by our readers, as it not only gives them more value, but allows them a year's subscription either for themselves or for a friend as a gift without any apparent effort, other than the jotting down of their own discovery.

W

E ARE pleased to note that our esteemed contemporary Die Photographische Industrie, No. 41, October, '09, in speaking of the close of the International Exhibition of Photography at Dresden, Germany, quotes from Mr. Adams' article in the September PHOTOGRAPHIC TIMES on the Exhibition: "The Exhibition, while giving ample space to the work of those who have been leaders in the past, has wisely given yet greater room to those who are determined to be the leaders of the future."

A

FTER writing the editorial note which appeared in the December number, stating that the issue of THE PHOTOGRAPHIC TIMES was 5,000 copies, the demand for the magazine by news dealers required an increase of the edition by a full thousand copies, so that 6,000 copies were actually circulated of the December number, instead of 5,000, as stated in the editorial note referred to. It will take 6,000 copies to supply the demand for this, the first number of 1910, and there is every indication that the increasing demand for our magazine will require an even larger edition for the issues. which follow, all of which is very encouraging to us.

T

HE accompanying photograph of Mr. Percy W. Shufeldt, made by his father, Dr. R. W. Shufeldt, a contributor to THE PHOTOGRAPHIC TIMES, is a tip-top picture of the successful American in Mexico, and interests everyone who sees it. Young Mr. Shufeldt went to Mexico several years ago with barely a dollar in his pocket, and, at the present time, owns a ranch of seven thousand acres, which is of great value. He has built for himself a beautiful home in Tehuantepec, and receives a large salary from a firm in the North for his services in Mexico. The picture indicates the characteristics of the typical American, who can accomplish so much in so short a time.