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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
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