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As the earth rotates about its axis, everything in the sky – the sun, moon, stars all appear to move across the sky.
I forgot to tell you that the one thing that opened my eyes was your course (The Art of seeing) at the BPSOP. Nature is full of pictures, and they are to be found in what appears to the uninitiated the most unlikely places.
ON A SUNNY JUNE MORNING in 1903, Lily White ventured beyond the comfort of her new houseboat, the Raysark, anchored in a snug harbor on the Columbia River near Lyle, Washington.1 With stray hairs blowing about her face, she sped away in a small gasoline-powered launch for the ten-mile crossing to The Dalles, on the Oregon side of the river, in search of a boat mechanic. Refitting the pipe joints this time with greater difficulty in the dark, and replacing the needle valve, I tried to start the engine. WHILE THE FAMILY STORIES of Lily White and Sarah Ladd have little in common, their lives intertwined in a friendship that lasted throughout their adult years. WHEN THE FIFTH ANNUAL Oregon Camera Club exhibit opened on October 30, 1899, at the club's rooms on the second floor of the Oregonian building, three hundred photographs a€” arranged alphabetically and lit by electric lights a€” hung on a background of green burlap, surrounded by wood ferns, draperies, and banners of the stars and stripes. Art, love of the beautiful, ambitions to excel has raised the standard of the Camera Club's work high among amateurs. Included in Ladd's six displayed prints were A Japanese Phantasy, Silent the Phantom Wood by Waters Deep, a bucolic forest scene, and Youth and Old Age, an image portraying a butterfly amid the opened seedpods of an aging plant. TOWARD THE END of the nineteenth century, photographic salons, where a rigorous jurying process approved only the most artistic work, appeared in Europe and the United States. IN THE SPRING OF 1903, White's custom-built houseboat, the Raysark, was towed up the Columbia River rapids by the steamer Regulator, and White and her friends were now free to explore the bays and inlets of the upper river. White and Ladd intended to photograph their surroundings and develop and print the results in the Raysark's darkroom. BEGINNING IN JANUARY 1905, as entrepreneurs focused on promoting Oregon and the Lewis and Clark Exposition in Portland, Ladd's and White's photographs of the Columbia River Gorge began appearing in the Pacific Monthly, a magazine owned and published by Ladd's husband Charles.
Ladd's images included a cloud-shrouded Mount Hood and photographs titled Celilo Falls, Morning Mists, St.
It was a romantic, visual tour to entice people to experience the basalt ledges and peaks of the Gorge and the serenity of the river. FEW ARTISTIC PHOTOGRAPHERS of this era were able to devote themselves fulltime to making photographs.
Sarah Ladd, A Fish Wheel is Shown at the right Extending from an Island near the Middle of the river.
SARAH LADD WAS FIFTY-EIGHT years old when her husband died on March 20, 1920, at age sixty-three.
I wish to thank Terry Toedtemeier for introducing me to the work of Lily White and Sarah Ladd and also Wayne Travillion, Lily White's grandnephew, for his generosity in providing information about White's family background. Content in the History Cooperative database is intended for personal, noncommercial use only. Based in part on Bryan's worldwide best selling book-Understanding Exposure, each weekly lesson unravels the often confusing and intimidating world of exposure. For observers in the northern hemisphere, this rotation is why the sun rises in the east and sets in the west. Let the honest student then choose some district with which he is in sympathy, and let him go there quietly and spend a few months, or even weeks if he cannot spare months, and let him day and night study the effects of nature, and try to produce one picture of his own, which shall show an honest attempt to probe the mysteries of nature and art, one picture which shall show the author has something to say and knows how to say it, as perhaps no other living person could say it; that is something to have accomplished. All day the mechanics cut, turned, and fitted, making many trips to and from the workshop, until without rest or food they finished the repairs just as the sun was sinking from view.
Through their work, the Raysark became legendary, providing the two women and their friends congenial summer memories and a source of their most enduring photographs.
Profiting from civic expansion projects, real estate, farming, and the burgeoning river transportation business, the Ladds became wealthy Portland bankers. The movement nurtured amateur photographers who created artistic images purely for personal pleasure as opposed to commercial photographers who mass-produced studio portraits for profit. Judd of Pendleton donated a trophy a€” a large three-handled silver loving cup with gold lining a€” to be awarded each year for best general exhibit by an individual amateur photographer. The twenty-eight-page exhibition catalogue highlighted the club's studio in the tower of the Oregonian Building, furnished with an enlarging camera, a lantern slide-reducing camera, a stereopticon, and developing rooms.
In early 1901, San Francisco opened its first photographic salon at the Mark Hopkins Institute of Art with nearly five hundred photographs, including numerous works by Sarah Ladd and Lily White's A Soul Looked In and Rest. Stieglitz could single-handedly influence a photographer's future by accepting or rejecting his or her work in exhibitions, by publishing it in Camera Notesa€” the journal of the Camera Club of New York, which he edited a€” or by returning it with his deflating comments about work being technically perfect but pictorially deficient.
White confessed to creating that setting by damming a stream and letting part of it run wild in Fulton Park, an area between Portland and the Ladd estate. Camera Craft judged Ladd's Eyes of the Earth to be the best of her five carbon prints and reproduced it with their review. Included were Ladd's A Decorative Panel, three flower studies presented as carbon prints on celluloid.37 In May 1902, the Camera Club of New York hung Ladd's work, and in July Stieglitz added Sarah Ladd to his list of photographers invited to represent the United States in the Turin International Exhibition at the Exposition of Decorative Arts in Turin, Italy. The events connected photographers from across the United States and Europe, especially when their work was reviewed and published in journals and exhibition catalogues. Each active member contributed one print a month to a portfolio that traveled to cities where the club had members. In its regional announcement, Camera Craft emphasized the inclusion of the Secession's western members a€” Anne Brigman from California and Sarah Ladd, Lily White, and Myra Wiggins from Oregon.48 Considering the distance from New York City and the relative isolation of western states from the New York City photographic hub, the accomplishments of these women are notable. The Columbia River became her home for creating pictures at any time of day, with rock formations, clouds, water, trees, and light creating the soft moodiness that was indicative of the photographic style of the time. The periodical, with a circulation of six thousand by 1900 and distributed throughout the Pacific Northwest, published western fiction, humor, travelogues, literary installments, and articles about economic progress and development in the Pacific Northwest and California. Like so many photographers of flowers, Ladd created images that reflect the view that all art originates in nature and defies the complicated technical requirements to leave an impression of natural simplicity.
While these photos possessed the atmospheric content that asked viewers to contemplate the natural world a€” a popular theme of the era a€” they were reproduced to attract leisure-class tourists and potential new residents to the region.
Sarah Ladd's social obligations often required her attention, and those appearances increased when her husband Charles became involved with the 1905 Lewis and Clark Exposition, which provided an opportunity to glorify Portland's business and society and served as the culmination of personal ambitions for many of the city's elite.
About a dozen subscribers to The Nautilus have discontinued the magazine on becoming Christian Scientists.
On June 9, 1908, while living in Oswego and already a member of the First Church of Christ, Scientist, in Portland, she joined The Mother Church, The First Church of Christ, Scientist, in Boston.67 A year later, she was living with Sarah and Charles Ladd at Cedarhurst and working as a Christian Science practitioner at 616 Beck Building.
Accustomed to moving on her own path, she set in motion a new course, and in July 1921 she was elected a member of the Christian Science Society in McMinnville. Ladd was noted for her beauty and during her married life in Portland won more than local recognition because of her interest in flowers and gardening, an interest she maintained throughout her life.


White fit the archetype of the strong independent western female, while Ladd had been part of Portland's high society. I am also grateful to the staff of the Oregon Historical Society Research Library for their assistance. Lily White probably taught photography to Fred and Oscar Kiser who, in 1903, created the Kiser Photographic Company, specializing in scenic photography.
Catalogue, Sixth Annual Print Exhibition (Portland: Oregon Camera Club, October 29a€“November 3, 1900). Constitution, Oregon Camera Club [1895], Research Library, Oregon Historical Society, Portland [hereafter OHS Research Library]. In 1899, the Oregon Industrial Exposition featured a photography exhibition judged by Ida Rae Myrick, W. Minutes of the Oregon Camera Club, December 15, 1894a€“June 10, 1902, 57 OHS Research Library [hereafter OCC Minutes].
I maintain that many photographs attributed to Lily White were actually made by Sarah Ladd.
Judith Huenneke, The Mary Baker Library, e-mail correspondence with the author, July 2, 2004.
David Nartonis, Assistant for Administration, The First Church of Christ, Scientist, Boston, Massachusetts, letter to the author, June 13, 1988. You may not reproduce, publish, distribute, transmit, participate in the transfer or sale of, modify, create derivative works from, display, or in any way exploit the History Cooperative database in whole or in part without the written permission of the copyright holder. It’s like a thing we have to do – which unfortunately results in a lot of seemingly pointless editing. Remember that your photograph is a rough index of your mind; it is a sort of rough confession on paper.
She must make her own landing and arrive on the high deck of the wharf as best she could and under fire from a regiment of critical eyes. Early amateur photographers such as White and Ladd, who had leisure time and economic freedom, undertook their work not for money, but for creative adventure.
Ayer a€” a Portland bookseller, stationer, and printer a€” and lived in her grandfather's home at 348 Fourth Street. Amateurs often printed their work on paper coated with light-sensitive platinum rather than ordinary silver coatings, and making carbon prints became popular with Camera Club enthusiasts in Portland. A photographer had to win the competition three times in order to keep the Judd Cup and have his or her name inscribed on it. Beach, general manager of the Interchange, each camera club must prepare 50 to 125 slides, each 3A? inches by 4 inches. Her Bridge of Hope, taken from her houseboat near Castle Rock that summer, recorded a rainbow, which was considered an unusual achievement for a photographer.32 White also exhibited several photographs of Native Americans, including A Shadow of the Past, which depicted a mother and her baby. After each member wrote comments about the prints, they were sent to the next city until eventually they returned to the owners.
White and Ladd remained Photo-Secession members at least through 1905.49 Overall, the camera club structure and amateur movement created a symbiotic relationship, in this case a vertical one, scaled by Lily White and Sarah Ladd. Steamers from Portland conveyed guests to and from her boat, which was often anchored near Lyle, Washington, a busy shipping port for wheat and sheep eighty-two miles east of Portland. While White's darkroom-equipped houseboat was probably unique to Portland and the Columbia River Gorge, it was not an original idea. With this latest technology, the two friends could wait for the clouds to form, the water to calm, and reflections to appear. Telegraph poles peer below the looming cliff of White's Upper Cape Horn, Near Celilo Falls of the Columbia. Photographs in the Pacific Monthly appeared with the descriptive titles or local literary connections that were commonly used by photographers but were also likely to appeal to tourists. When making flower photographs, there were aesthetic considerations of composition and lighting along with the formal qualities connected to the photographers' intentions, from the desire to portray botanical specimens to romantic associations, emotions, or beauty. Ladd and White had become successful, benefiting from the prestige associated with their work and maintaining their economic independence by making artistic photographs for commercial projects. The Ladds attended a banquet to honor the arrival of Vice President Charles Fairbanks, for example, and joined a thousand people at an opening reception of the American Inn, which Charles Ladd built on the fairgrounds.63 The festive activities offered quite a contrast to Sarah Ladd's life on the river.
Elizabeth Struble Towne, born in Portland in 1865 (one year before White), was a follower of Quimby's and the publisher of the Nautilus, an influential periodical associated with New Thought.
On June 2, 1911, Ladd joined White as a member of the Mother Church of the First Church of Christ Scientist in Boston.69 In July, she and nine other women organized the Carlton Civic Improvement Association.
Together, they joined the local Christian Science Church, where they remained members until their deaths. Each had a photographic and aesthetic vision that gave them the same status as the men who photographed the Columbia River at the same time, and both adopted a religion that allowed them to take prominent roles that were not permissible in traditional religions. The Kiser brothers grew up on the Columbia River opposite Beacon Rock, near Dodson, Oregon, where White would sometimes stop.
The lectures were available after the club renewed its membership with the American Lantern Slide interchange in 1901. The slides most preferred by the Interchange board of managers were cloudy landscapes, figures studies, and genre subjects. According to Penrose Annuals from this time period, Photoloid was introduced as a print material that would give a "true carbon [look] unattended with the great labor and care that the latter requires. Given that Bell's intention was to organize the Salon Club as a challenge to Alfred Stieglitz and his Photo-Secession, it is interesting to note the inclusion of Sarah Ladd and the initial listing of Myra Wiggins, both Photo-Secession members. Twenty-two-year-old Oscar Kiser disappeared on Saturday, November 4, 1905, from the Charles Ladd boathouse at Riverdale, where he worked as the caretaker. Ladd left $3,000 to the Christian Science Society of McMinnville for the maintenance of their grounds and set aside $1,500 for a drinking fountain in Carlton in memory of her husband.
From 1930, Lily White lived on Scenic Drive between Martin Way and Carmel Point with Mabel Spicker.
When a woman will step into the world of action and do a few vigorous things for herself, she may do all the resta€”ahem! And here it was, during the time which followed, that I learned the real meaning of stillness.
In Portland, privileged men and women chartered riverboats for moonlight excursions on the Willamette and Columbia rivers and enjoyed the new sport of golf a€” and they documented their leisure activities by taking photographs. Her mother, Nancy Hoffman White, had crossed the plains from Illinois at age eleven with her parents and twelve brothers and sisters. Ladd's son, Charles Elliot, graduated from Amherst College in 1881 and brought his bride Sarah L.


Lily White taught Oregon Camera Club members the latest photography and darkroom techniques, using ready-to-expose, emulsion-coated glass plate negatives and platinum paper for image-making. Favored for its permanence and ability to produce colored prints at a time when color photography was rare, carbon printing involved exposing a negative against pigmented tissue sensitized with potassium bichromate. To select the winner, the club chose three judges a€” a professional photographer, an artist, and an amateur who was not a club member a€” to evaluate each personal grouping of photographs (at least six but not more than ten pictures mounted, with framing optional). Individual slides had to be as technically perfect as possible, without areas too dense or too clear, matted and labeled, and without too much soot.
Stieglitz's pronouncements signaled a new era, but Ladd and White's adventures on the river had already begun.
White had supervised the boat's construction, and the Raysark was built to accommodate her personal needs. They might move closer to or farther away from Castle Rock (now Beacon Rock) or stand on a sandy beach. In a change from her typical landscapes, White also captured the work of fish seining on the Columbia with her photographs of horses and men grappling with the nets spread by boats.57 The exhilaration of the two women's work and the pleasures of life on the river, away from the pace of city life, contributed to a series of photographs that many believe is unmatched by other photographers.
There were also many decisions to make concerning plate development, paper selection, and mounting techniques. Their first project involved working with the city council to purchase trash cans for the streets.70 Unlike White, Ladd continued to exhibit her photographs despite the changes in her life.
Living near the ocean in a creative, invigorating community of writers and artists would have supported and nurtured their interests, but their life together was not to last long. Their work as artists influenced the Oregon Camera Club, which depended on photographers whose photographs reflected their lifestyle, the artistic genre of their era, and the landscapes they cherished. Photoloid consists of a colloid emulsion placed upon a cellulose base, from which combination the name evolved.
The same author then discussed the formation of a Western Division of the Salon Club, a group organized by photographer Curtis Bell. In 1904, Charles Ladd bought it from Jay Cooke, a railroad financier, and then sold it to Henry J. Holman, a lawyer and amateur rose grower, suggested that every Portland home should plant roses the following spring so the plants would have three years' growth by the time the Lewis and Clark Centennial opened.
A bronze medallion of Charles Ladd, Chinese vases, and Greek glass bowls were left to the Portland Art Museum. Camera clubs across the country were giving amateur photographers the opportunity to socialize, obtain darkroom assistance, share ideas and information, and go on organized outings on bicycles, trains, or river steamers. Despite the death of Nancy's father on the Snake River, the family arrived in Oregon in 1852. Several moonlight scenes bring forth the latent beauties of pale lights and dark backgrounds. On another day, they might hike inland for a view of Upper Cape Horn, near Celilo Falls, catch the rays of sun reaching through the clouds after a storm, or capture the early morning mists. The Panamaa€“Pacific International Exposition opened in San Francisco in 1915, and Ladd exhibited fourteen photographs in the Art Room of the Oregon Building. White's Camera Club demonstrations encouraged countless photographers to progress in style and technique. The emulsion is a fairly rapid one to be developed in approximately the usual way like developing paper. During the following days, the Oregonian and Oregon Daily Journal reported he had fled the city, been shanghaied, met foul play, and been murdered.
Twenty-three practitioners are listed in the city 1909 directory, fifteen of whom worked in the Beck Building. In Portland, White and Ladd dedicated themselves to the Oregon Camera Club and the nascent photographic movement in the city. They were easily transported and could be exposed and developed whenever it was convenient rather than on location, as wet-plate negatives required.
Prints could result in tints of yellow, green, red, or violet by varying the toning or amount of light and carbon tissue paper used.18 Experimentation with photographic printing techniques and materials was indicative of the true craftsmanship of amateur photographers who thought of themselves as artists.
That year, 28 slides by 12 members of the Oregon Camera Club were accepted by the board of managers.
For scale, they sometimes added a human figure or their houseboat as a reminder of their location and how they lived. The two friends' boundless physical and creative energy shaped an image of the Pacific Northwest seen by thousands of people. His body was found December 25, 1905, in the Willamette River downriver from the Ladd boathouse. Both women understood the power of photography to record their own ways of seeing a landscape. Portraits were never better and afford new studies that would appeal to the eye of an artist. While Ladd's photographs received more attention than those of Lily White, both locally through the Pacific Monthly and on the East Coast, it was White's sense of adventure and the opportunities she created on the Raysark that set the tone for their posterity.
Maud Ainsworth was awarded first prize of ten dollars in the Architecture and Interiors Division for Melrose Abbey. White and sister of Milton White), Lily White may have thought of Maud Ainsworth as her cousin. In an interesting twist, White is listed on the April 1910 United States census twice a€” once boarding with the Ladds in Portland and working as a Christian Science physician and again living in her family residence on Fourth Street working as an artist with a studio. During those years, they also cultivated opportunities for personal promotion that intersected with Portland's rise in regional and national status. Sarah established a formal garden there with imported plants, a bowling green, a tennis court, a barn, stables, and a caretaker's home.
The Expo, which was open for four weeks, featured music, art, trapeze artists, bands, cakewalks, a photography show, and military, mining, and agricultural, displays. She filled her home with mahogany furniture, china and silver serving pieces, and imported statues and vases of bronze and porcelain. Cruikshank examined the minutes of the membership meetings in 1902a€“1922 and the early membership list.



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