The photographic news

• Bandzählung: 29.1885
• Erscheinungsdatum: 1885
• Sprache: Englisch
• Signatur: F 135
• Vorlage: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: SLUB Dresden
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• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
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THE PHOTOGRAPHIC NEWS. Vol. XXIX. No. 1381.—February 20, 1885. CONTENTS. PAGE An Exhibition of Photographs at Nottingham Photography as an Assistance to Painting Review A Talk about Lonses. By W. II. Wheeler Artists versus Photographs. By Mr. Pae Transparencies. By T. N. Armstrong Backgrounds of Portraiture. By Norman Macbeth, R.S.A. Notes Patent Intelligence 113 113 114 115 116 1)7 119 120 121 PAGE Colour in Developed Images. By J. B. B. Wellington 122 A Dictionary of Photography 122 President’s Address at the Birkenhead Photographic Assccn-* tion 123 Improved Developer. By Prof. II. W. Lord 124 Correspondence 124 Proceedings 125 Talk 127 Answers to Correspondents 127 AN EXHIBITION OF PHOTOGRAPHS AT NOTTINGHAM. As far as we can call to mind, the Exhibition which opened on Saturday last is the first of its kind which has been held at Nottingham. The Water Colour Gallery of the Art Museum in Nottingham Castle certainly makes an admirable exhibi tion place for camera pictures, and it is satisfactory to find that an excellent and representative collection of photo graphic pictures is gathered together ; this result being mainly due to the energy and tact displayed by Air G. Harry Wallis, the Director of the Art Museum. There are noless tban415 exhibits, but considerably more pictures than this number, as many of the frames contain more than one picture. Among the names of the exhibi tors are to be found those of gentlemen well-known in the photographic world ; Captain Abney contributing about a dozen pictures, the Autotype Company some fifteen or so, Mr. Berkeley and Mr. Valentine Blanchard five each, Mr. Manfield nine, Mr. H. P. Robinscn eleven, Herr .Schuster, of Berlin, nineteen, Mr. T. G. Whaite half-a-dozen, and Colonel Stuart Wortleyfive, It is scarcely necessary to say that in a provincial exhi bition taking place at the present season of the year, the bulk of the photographs shown are examples of work which has been previously exhibited in Loudon or elsewhere, original pictures being the exception. It will therefore interest our readers to know what is the view taken by the local critics as represented by the Nottingham Journal, from which we quote the following : — “There are numerous very pleasing prints, by Captain W. de W. Abney, exhibiting landscapes with much truthfulness and delicacy ; we may mention 5, ‘ Behind Magdalen, Oxford,’ and 215,‘Chill Autumn on the Chirwell.' No. 7 contains twelve instantaneous views by G. Hadley, remarkable for their effects of motion in water and clouds, and clearness of atmosphere. No. 13, a‘Portrait of Viscount Ingestre,’ Autotype, by Richard Keene, is very pleasing; the softness of the fur on which the child is laid is well expressed. No. 14, ‘ Waiting and Watching,’ by J. B. Smith and Son, is excellent in depth, and at the same time transparency of shadow. No. 16 contains twelve panel portraits by J. Lafayette, all interesting and full of character, as is also No. 73, by the same artist. No. 34, ‘ Choir Stalls, Lincoln Cathedral,’ by G. Hadley, is crisp and clear in details, as is also 52, ‘ Nave of Lincoln Cathedral,’ by the same artist. Mr Alfred Cox exhibits six panel photographs, all distinguished by artistic taste and ease, and gracefulness in the position of the figures. No. 59, ‘ Birch Trees ’ ; 60, 1 Great Guble, Wals- dale Head ’; and 63, ‘ The Screes, Wastwater,' by Air. T. A. Green, are excellent specimens. No. 68, ‘ Waiting for Nurse,’ by F. Whaley, is a work of merit, as are other specimens by this artist. There is a very fine ‘ Study of a Head,' No. 91, by Valentine Blanchard. In 96, ‘Studies of Yachts racing in the Soleut, taken from a Bailing boat,’ by G. West and Son, the atmosphere effects and the motion of water under the breeze are admirably caught. In 116, ‘ Frame of six Portraits,’ by C. Marius, all are excellent. ‘ The Unfamiliar Tune,’ by Edwin Smithels, is very expressive. No. 167, exhibited by the Autotype Company, is really a grand picture, representing ‘ Rheims Cathedral,’ enlarged from negative by A. Borderia; the details are wonderfully distinct and clear. No. 196, enlarged from a negative by W. Mayland, with the quotation attached to it, ‘ There is sorrow on the sea, it cannot be quiet,’ is really a beautiful and very striking work; the beating of the waves on the shore, the wild clouds, the light on the horizon, and the distant ship, are shown with excellent effect. No. 202, by A. Brothers, is a remarkable autotype, the female head partaking much of the character of a Magdalen, by one of the Old masters. No. 211, ‘Portrait of Sir Henry Wilmot, Bart., V.C.,’ is a noble work, near life-size, by W. W. Winter. No. 225, ‘He loves me—he loves not,’ by H. P. Robinson, is e'ever in the arrangement of the details, and clearly executed. No. 266, ‘ The Hemlock Stone,’ by T. Scotton, is worthy of notice, as is also 272, ‘Study of Pampas Grass,’ by J. B. Hilditch. Mr. C. B. Wright exhibits Nos. 283, 351, 362, and others, mostly views of the South Coast, full of nature, and artistically treated. No. 303, by C. V. Shadbolt, is very interesting, being a view of the Thames and Royal Albert Docks, taken from a balloon at an altitude of 600 feet. Herr Schuster exhibits many charming works, but none more worthy of notice than N o. 360, ‘ The Quartermaster.’ Nos. 439, 440, and 441, by Colonel H. Stuart Wortley, on opal glass, are beautiful pro ductions.” The number of awards is small in proportion to the ex hibits, the only exhibitors honoured by the jurors being Mr. H. Manfield (silver medal for view of Bossington, in Somersetshire), Mr. J. Pike, and Mr. Joseph Taylor. PHOTOGRAPHY AS AN ASSISTANCE TO PAINTING. To shake before photographers the red rag of “ photo graphy and art ” is the thing we least of all wish to do. It will, however, surely be harmless to say a few words on one or two of the manners in which artists of the brush make use of photography to assist them in their work. A few days ago we called at the studio of a friend, a successful landscape painter. It was not many minutes before our eye fell upon a very small camera, which, on its tripod stand, was leaning up in a corner. In answer to our enquiries, our friend replied, “ Yes, I make use of this camera to help me in my work, and a very great aid I find it at times.” We tried, and not without success, to draw him out as to what he considered to be a legitimate application of the camera in the hands of a painter, and what not. We give his opinions without comment as he expressed them to us, and, so far as we can remember, in his own words. " Skies of all things are those in securing which th