ducing
color photography on paper?"

"I do not know of any special progress in this branch of the art. Color
photography on paper has been worked out successfully by Mr. Ives, and I
think the difficulty in obtaining materials has temporarily affected the
popularity of color photography in this country."

"Is the color process used to any extent for portraiture in the United
States?"

"I do not think it is used to any great extent, but I believe that it has
great possibilities and that it can be used if workers will take the
necessary care and pains. I think the difficulty of getting material
recently has set things back along this line."

THE "SECRET" IS THE ARTIST

"Have the so-called pictorial photographers any 'secrets?' People often
ask, 'How are these effects produced?' What is the best method of
producing soft, atmospheric pictures? Can a skilled worker take an
ordinary hard negative and, by suitable manipulation or the use of soft
paper, produce an atmospheric print? Is the medium the secret? Will one
paper or developer produce soot and whitewash effects and another a
picture? Are soft effects generally produced by manipulation in
developing negatives or prints?"

"I believe the quality of a picture is not due to the medium by which it
was made. It depends entirely on the man who made it. I think one man
can make a good print on soft paper and another a good print on hard
paper. I do not think the medium makes the picture. I think the medium
produces the picture to some extent, but it does not make the picture."

HAND WORK VS. STRAIGHT PRINTS

"What are the limits of hand work that are legitimate in photography? I
don't like to use the word faking, but most people would so describe it.
I mean, for instance, putting in skies, blocking out obtrusive
backgrounds, sunning down high lights, retouching negatives, printing
through prepared masks that entirely alter the negative, and pencil or air
brush work on prints?"

"I do not have any objection to anybody using any methods that he pleases
providing that the result is convincing; and I believe that practically
every one of these means has been used successfully, in making pictures.
On the other hand, some of the best and probably more good pictures have
been produced by not using any of them--that is, by making the picture
straight."

COMMERCIAL POSSIBILITIES F