Amateur Photographer: 49. Dixon Scott, "Welding the Links: The Salon Show at Liverpool," The Amateur Photographer, vol. 50 (1909), pp. 48-49.
50. Frederick H. Evans, "The New Criticism," The Amateur Photographer, vol. 50 (1909), pp. 89-90.
51. "The Photo-Secession at Buffalo," a portfolio of photographs purchased by the Albright Gallery in 1910.*
52. Sadakichi Hartmann, "What Remains," Camera Work, no. 33 (1911),pp. 30-32.
32. Photograms of 1897, p. 70.
35 . American Annual Photography for 1895, p. 27.
34. Theodore Dreiser, "The Camera Club of New York," Ains-lee's Magazine, vol. 4 (1899), pp. 324-35.
35. The quotations from Photographic News, The Amateur Photographer and Photography are from A. Horsley Hin-ton, "Some Further Consideration of the New American School and Its Critics," The Amateur Photographer, vol. 32 (1900), pp. 383-85.
36. Ernst Juhl, "Eduard J. Steichen," Die Photographische Rundschau, vol. 16 (July 1902), pp. 127-29.*
37. The Novels and Tales of Henry James, definitive ed., 24 vols. (London: Macmillan and Co., 1907).
The main difference between the capable amateur and the successful professional photographer may not be at all a matter of technical skill-in fact, the amateur may take better pictures than the pro-but is more likely to be altogether a difference in the necessary know-how, usually gained by the professional only through bitter experience, required for efficient selling.
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