nction.

Some notable one-man exhibitions have been held since our last Annual was
published. Among them should be mentioned those of the veterans Alfred
Stieglitz and Rudolph Eickemeyer in the Anderson Galleries in New York--and
it is a significant testimony to the lure of our art that these masters of
it have "come back"; those of Dr. H. B. Goodwin, of Stockholm, at the
Brown-Robertson Gallery, and E. O. Hoppe, of England, at Wanamaker's, in
New York; that of Clarence H. White, of New York, at the Art Center; the
joint exhibition of prints of W. E. Macnaughtan and William A. Alcock, of
Brooklyn, at the New York Camera Club, and of F. J. Mortimer and Alexander
Keighley of England at the same place; and by Mrs. Antoinette B. Hervey,
Miss Sophie Lauffer, Nicholas Muray, and F. O. Libby, with numerous
others, that show the popularity of this method of placing good work
before the public. Such exhibitions should be encouraged, for not only do
they stimulate the exhibitor to show worthy work, but they are in the
nature of spurs to the activity of every serious worker who has the
privilege of seeing them.

As to processes that are in favor, the bromoil and the bromoil transfer
still continue to attract a host of workers. European workers seem still
to have access to better and cheaper materials for this work than we in
America, as is evidenced by the number and quality of the prints that are
produced in the Scandinavian countries and in Germany, where bromoil work
has even acquired a commercial status among professional photographers.

The question is sometimes raised whether the general public who attend
photographic exhibitions are interested in processes as such. I think the
question must be answered in the negative. It is the general effect that
interests the outsider, and he cares not whether the print is a gum, a
bromoil, a bromide, a platinum, or a palladiotype. We must beware lest we
get enamored of a process rather than the result. I say this with no
disrespect to the bromoilists, many of whom are gifted workers and endowed
with art feeling. But we must remember that we are working to popularize
photography as an art as well as to demonstrate our own artistic feeling
and technical skill, and we ought not to lay too great stress on a
difficult branch of our work, to the discouragement of those who would
seek to share the delights of a beautiful recreation. The problem must be
left to each individual. The b