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Among the Camera Clubs

[Officials and other members of Camera Clubs are cordially invited to contribute to this department items of interest concerning their clubs.-THE EDITORS.]

THE RUSSIAN PHOTOGRAPHIC SOCIETY,
MOSCOW, RUSSIA.

The Russian Photographic Society, Moscow, is arranging in March-April, 1911, an International Photographic Exhibition in Moscow.

Wishing to attract as many exhibits as possible to the said attraction, the committee have the honor to invite you to participate in the same, thus promoting its

success.

The committee hopes that this proposal to assist in the promotion of such an important matter as the development of photography in Russia, may meet with your approval. We give the rules of the exhibition, trusting that you may favor them with your decision as soon as possible.

The Third Russian Congress of Photography will take place during the course of the exhibition and this will doubtless further increase the importance of the exhibition.

Address: Russian Photographic Society, Exhibition Committee, Moscow, Russia. President of the Committee, Eng. T. Sviaginsky; Secretary of the Committee, Dr. A. Prochoroff.

Application for admittance must be handed in not later than December 1, 1910, at the following address: Moscow, Russian Photographic Society, Exhibition Committee.

The reception of exhibits will take place from January 15 till March 1, 1911.

I. The exhibition is to take place in Moscow during March and April, 1911.

2. The exhibition consists of the following sections:

I. Scientific section: Microphotographic, astrophotographic, natural history, medical and judicial photographs, appliances, also exhibits relating to the history of photography and to scientific photography.

II. Section for photographic literature: Printed works on artistic and scientific photography.

III. Section for work of professionals, amateurs, and photographic societies. IV. Photography in colors.

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V. Section for photomechanical cesses: Heliogravures, phototype, autotype and other processes. Application of photography in typo-lithography.

VI. Cinematograph section.

VII. Section for practical application of photography: Photographic cameras, accessories, materials, etc.

4. The exhibits must bear the name and address of author, also, if possible, the name of the subject and process adapted.

5. In case of sale of the exhibits, 10 per cent of the sale price will be retained as commission by the Society and if there are no duplicates, the sold articles may be taken only after the close of the exhibition. 6. Exhibitors in sections I and II are allotted room in the exhibition for their exhibits gratis.

7. The choosing of the place and admittance of the exhibits depends entirely upon the Exhibition Committee.

8. Expenses for freight of exhibits to and from exhibition and for packing, are debited to the exhibitors.

9. The amount due for space must be forwarded along with the application for admittance.

10. The awards consist of gold, silver, and bronze medals and diploma. The number of prizes is not limited. The allotted awards are of a private character and must not be used on signboards, labels or other objects.

Remark: The gold and silver medals are delivered only on receipt of the amount of their value, The bronze medals are

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ILLINOIS COLLEGE OF PHOTOGRAPHY,
EFFINGHAM, ILL.

The college received a very pleasant visit last month from Mr. George W. Harris, President of the Photographers' Association of America, who spent a day with us on his way to the Nebraska State Convention, at Lincoln. While here he gave the students a fine talk on studio management.

The college just issued its 17th annual catalogue this month and special attention has been given to making this issue unusually pictorial and artistic.

Mr. E. A. Atwater, of St. Louis, who was for many years a popular plate demonstrator in the central west, is again in the demonstrating business with the Central Dry Plate Co., of St. Louis. He made the college a professional visit last month. Mr. Friend Cochran, of Charleston, W. Va., student of 1906, has been assisting in the organization of a state photographers' association for West Virginia, and Messrs. Proctor, Giffen, and himself were elected president, vice-president, and secretary, respectively.

Mrs. H. T. Cutter, student of 1905, has returned to the college for a course in advanced work in photography, and her husband has also enrolled for a general course.

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[Manufacturers and dealers in photographic goods and supplies are urged to send us descriptive circulars of their new products for presentation in this department.-THE EDITORS.]

WHAT THEY SAY.

The New York Times in its review of "Photographing in Old England," by W. I. Lincoln Adams, says that "The seeing eye (of the author) was that of an individual and not a tourist." "Remarkably fine illustrations."

The New York Sun says, "it consists of a set of remarkably fine photographs."

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The North American, of Philadelphia, calls it "a fine gift book for the coming holiday season.” * "Beautiful photographs of charming landscapes and historic places." Descriptive letters written in graceful and finished style." American Photography, of Boston, writes: "Mr. Adams performed a leisurely journey, and noted many sights and amusing things, but looked on English life with the eye of an American, as is evidenced by his description of cricket, where he italicizes the fact that the "scores frequently reach several hundred runs." Such touches as these, however, fill the book with human interest, and make it a very vivid and interesting account of the author's trip. The concluding chapter gives some very admirable hints on photographing abroad, most of which are fully as applicable to work in this country. The illustrations are many of them of very large size, excellently reproduced, and beautifully printed on heavy paper. Mr. Adams can evidently practise what he preaches, as is proved by these photographs, many of which were naturally taken under unfavorable conditions."

Snapshots, of New York, says, “it is a delightful record of the charm of Old England, accompanied by photographs remarkable for their beauty and for the exquisite reproductions here given."

The Photo Era, of Boston says: "There is no question that the travel-book penned by a recognized authority, after elaborate preparation, takes precedence over hastily-written sketches by a tourist. Yet the latter often possess a spontaneity and freedom of expression that exert a singular appeal. This is eminently true of Mr. Adams' series of letters, written originally for the photographic periodical of which he is editor, and now issued in book form. The author modestly disclaims any pretensions to literary capacity or to unusual photographic knowledge, so that one is all the more gratified upon acquaintance with the subject matter and the accompanying illustrations. The seventyfive half-tone plates portray admirably typical scenes in Old England, Scotland, and Wales, those of the famous cathedrals, in particular, being wellnigh perfect, technically. Some of the landscapes are exceptionally beautiful in subject and treat

ment.

"To camerists who have not tasted the joys of foreign travel, this volume, by a lover of nature and a capable photographer, will prove a powerful incentive to visit a country which teems with camera subjects of the most exalted kind, and where the tourist will experience none of the discomforts and difficulties frequently experienced on the continent."

"Photographing in Old England." "A delightful volume alike for those who have and have not seen the beautiful and historic places pictured and described * * * "Here is a pleasant work for those to carry a camera planning through Europe, or for dreamy enjoyment beside the study lamp or open fire," says the Chicago Record-Herald.

LANDSCAPE AND FIGURE COMPOSITION,
BY SADAKICHI HARTMANN.

Mr. Hartmann's activity as critic and instructor in pictorial composition has been seen to excellent advantage in some of the photographic publications in the last few years. His series devoted to landscapes and figure composition, which was printed in THE PHOTOGRAPHIC TIMES some time ago, seems to have been received with such favor by pictorial workers as to warrant its publication in book form, arranged in twelve chapters, and illustrated by original plates. These papers offer valuable aid to the student eager to impart to his work æsthetic significance and power. The pictures selected for his study and emulation represent intelligent application of wellknown art principles by both painters and photographers of note, the productions of American and European artists having been drawn upon with gratifying impartiality. While certifying to the eminently instructive value of this publication, we regret that the illustrations were not placed in regular order. One plate referred to in the text was entirely omitted. This oversight, will, no doubt, be corrected in the next edition. The volume presents a distinguished appearance in its superb typography and handsome cover.-Photo Era.

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Landscape and Figure Composition, by Sadakichi Hartmann (Sidney Allan). Illustrated; 121 pages. Price, $3.00. The photographer is again indebted to Sadakichi Hartmann for another very helpful and practical book. "Landscape and Figure Composition" is a reprint of tweive articles which appeared in the PHOTOGRAPHIC TIMES during 1909. The subject is handled in the author's well-known direct and forceful manner. The illustrations, of which there are some one hundred and twenty-eight, have been carefully selected from celebrated paintings and original photographs and are well reproduced on good plate paper. The professional photographer will find the chapters on the Placing of Figures, Background Arrangements, One-Figure Composition, Two-Figure Composition, and Compositions of Three or More Figures especially interesting. There are altogether too few books on the art side of photog

raphy, and we are glad to recommend this book to those photographers whose aim is to produce artistic work.

-Wilson's Photographic Magazine.

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"LANDSCAPE AND FIGURE COMPOSITION.” As a rule, such advice as we get on the vital subject of composition, is either from a photographer who has little conception of the real, underlying, basic principles of composition; or, what is nearly as bad, from a competent writer on art subjects who has little or no knowledge of the characteristic limitations of photography. We can, therefore, congratulate ourselves upon finding available a new work with the above title, a book written by Sadakichi Hartmann (Sidney Allan), a gentleman whose reputation as an art writer and critic has stood the test of time and whose achievements with the camera have shown his knowledge of its capabilities. His theory is sound and practical, his instruction helpful and reliable, and both are based on long study and much experience. The book is a large 8vo., containing one hundred and twenty-eight illustrations. The topics treated may best be indicated by giving a few titles of chapters as follows: Geometrical Forms of Composition, Line Combinations, The Placing of Figures, Background Arrangements, Foreground, Middle Distance and Distance, One-Figure Composition, TwoFigure Composition, and others. The price is three dollars net. Published by The Photographic Times Publishing Association, 135 West Fourteenth Street, New York. Camera Craft.

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Photographers will find THE PHOTOGRAPHIC TIMES worth having. It is devoted to the interests of pictorial and scientific photography. It is printed on heavy coated paper on which the half-tone illustrations show up with splendid advantage. There are reproductions from the old masters and scenes from abroad. Work accomplished in the different countries, pertinent editorial notes, discoveries, gossip of the various camera clubs, etc., are all features, as well as the different departments which include Trade Notes,

Photographic Reviews, and Monthly Foreign Digest. It is published monthly by The Photographic Times Publishing Association, 135 West 14th street, New York City. From The Bookseller, Newsdealer, and Stationer.

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The winter season is truly flashlight time. For this interesting branch of photography the Spred-Lite Flash Lamp and Prize Flash Powder make an ideal combination and cannot be too highly recommended.

Prize Powder has wonderful actinic quality, burning instantaneously and cleanly. The Spred-Lite Flash Lamp (Mr. Harry A. Whitfield, patentee), is most safe and simple to handle. It is made in five sizes, from the small amateur lamp, costing 60 cents, to the large professional lamp at $6.00. Spred-Lite Lamps give the largest flame and greatest amount of light possible from the quantity of powder used.

Ask to see the Spred-Lite at your dealer or send to G. Gennert, 24-26 East 13th street, for circular.

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With each copy of the American Annual of Photography for 1911, will be an insert picture by the master photographer, Commodore Steffens, printed on Professional Cyko Buff, and made with the Steffens Electric Light Cabinet. The negative was made by E. E. Doty, by the Steffens method, at a demonstration of Cyko paper at the convention of the Photographers' Association of America.

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The value of the most favorable conditions under which to work lies in the Bausch & Lomb-Zeiss Portrait Unar, an instrument of the greatest efficiency. You can get one on trial from your dealer.

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A number of excellent books treat on the color toning of photographic prints and a series of formulæ have been published in trade journals in recent years, but all the methods evolved seemed to have one drawback or the other, and the amateur found them too complicated.

A disadvantage universally complained of was the production of stained whites, es

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