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He was an early subscriber to Alfred Stieglitz’s magazine, Camera Work.Photography was becoming an important part of advertising in those early days of marketing and my grandfather felt he had to follow the latest trends.In 1929, the whole family had moved to a very nice and very large house in Scarsdale, New York.Two years later, the depression forced my grandfather to close his advertising agency and the whole family had to move out of the big house in Scarsdale and come back to the city to find someplace to stay.So my father came back to New York City to pitch in and help the family finances and to learn how to earn an income.It must not have been an easy time in the depth of the depression.
Coming to the office and reporting sales successes or failures to this gentleman could be a very exciting and somewhat chaotic since the gentleman publisher was frequently in his cups.
That meant he conducted direct mail programs for these companies to build brand awareness or convince the public that Standard Oil or Meyrowitz or Smith and Wesson were these friendly hometown companies providing oil and gas, eyeglasses and guns at the lowest possible price and the best value. He took a particular interest in following photography, which was then in its early stages of development.
So he was a member of the New York Camera Club and a patron of the famous “291” art gallery where Paul Westin and Alfred Stieglitz showed their photographs along with a wide variety of other artists, including Pablo Picasso, Georgia O’Keefe and others.
After driving past two inflatables at a car yard one day, Salter heard his son yell out "They're fighting! "They're in these human environments, and we like to think when humans' backs are turned, these battles go on," Salter says.
The controls are simple -- left thumbstick leans you forward and backward, right thumbstick controls the arms.
These were larger format ads usually with both words (copy as it is known in the trade) a pictures (art, as it euphemistically described).