Clarence H. White Sr., Clarence H. White Jr., and me
An introduction
by Bruce Humphrey
In 1902 a world-famous photograph entitled “The Orchard” was created by Clarence H. White and it was made very close to where I now live on top of Buena Vista hill in Newark Ohio.

The photo may have been made in my back yard, for at that time, I’m told, my yard was an orchard. In the background of the photo of three women gathering apples is a tree the basic form of which compared favorably to a very old apple tree that survived in my yard until a few years ago.



But my connection with this early photographer doesn’t stop there.

He also had three sons, one of whom he named after himself and who grew up to become a teacher of photography as well.  Clarence H. White Jr. eventually chaired the department of photography at Ohio University, Athens, when I took a major there beginning in 1952.

Thus have I felt a loose kinship with the photographic pioneer and his son for nearly a half-century. During those years I've read with mild interest the frequent squibs that appear here and there about their contributions to the art and technique of photography.

Therefore, it was imperative when I established galleries at this web site to showcase the work of local photographers that Clarence White be among them. The gallery was a piddling affair, thrown together quickly, and stayed that way for too long.

What inspired me to get going on it again was a 1971 clipping from the Advocate that I came upon in my files recently. It was featur-ish item written by Don Smith, about the opening of an exhibition of White's photos at New York Museum of Modern Art.  It's an interesting piece with a local slant.

The article mentioned that White is buried in Cedar Hill Cemetery, which I must have known but had forgotten. It finally clicked: The White gallery at Newark Tea Party had been too-long neglected.

That very minute I picked up the phone and called Kay Hartman, superintendent of the cemetery, and asked about the location of the White grave. She was kind enough to guide me through the old part of the cemetery to the crest of a hill and point out the plot, which turned out to be a plot that had the graves of nine family members.

The day was perfect for photographing the grave of the master. The clouds broke at the right moment, the sun was offering perfectly placed back light, and the snow - just enough and not too much - was providing a purity that was pleasing and in tune with the spirit of the day.

All this is presented here in the White Gallery, along with some history, some examples of his work, some information about Clarence Jr., and links enough to get started on some heavy research.

If others want to add links or information, they would be welcomed.