Interesting example of how Conlon edited his work for publication. His handwritten notations are on back and instruct the publisher on how to much the umpire closer for publication. Shown in the gallery is the resulting published work.

Contact print of Al Mattern by Charles M. Conlon. It has Conlon’s early 1910’s home address stamp on back.

Die cut image of Joe Wood which has been mounted and designed for publication. The image is by Charles M. Conlon.

Action shot of Hauser by Charles M. Conlon. This image has one of Conlon’s stamps with his home address from early in his photographic career. The image was used for Hauser’s 1912 M101-4 supplement.

McGraw kneeling along the baseline. This photo has extensive editing marks for publication. Famous image of McGraw by Charles M. Conlon.

Terrific closeup portrait of Tris Speaker by Charles Conlon circa 1912.

Early large Conlon print that also bears his later “Alden” stamp. What is most interesting is the “C.M. Conlon” autograph on back. His full signature is rare. He most often simply noted “Conlon” or “Conlon photo”.

Jack Pfeister by Charles Conlon circa 1910. It has Conlon’s 111th Street home address stamp on back.

Ed Ruelbach photo by Charles Conlon taken at Washington Park in Brooklyn circa 1910. It also has Conlon’s home address 11th Street stamp on back

A 1904 print of Claude Elliott by Charles Conlon. This was Conlon’s first year as a baseball photographer. The print is in standard size and format of most 1904 Conlon prints.

Images of Charles M. Conlon himself are exceedingly rare. This one depicts him performing his day job as a proofreader for the New York Telegram. Note the back lists “proofreader” before it mentions “photographer.” Baseball photography was his secondary job, but primary fascination. The note…

This striking image of Topsy Hartsel was taken by Charles M. Conlon in circa 1909 at Hilltop Park in New York. It bears Conlon’s handwriting on back. This image appears in McCabe’s Conlon book.