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
• Rechtehinweis: Public Domain Mark 1.0
• URN: urn:nbn:de:bsz:14-db-id1780948042-188500006
• PURL: http://digital.slub-dresden.de/id1780948042-18850000
• OAI: oai:de:slub-dresden:db:id-1780948042-18850000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Bemerkung: Seite I-II fehlen in der Vorlage. Paginierfehler: Seite 160 als Seite 144 gezählt.
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

Avgust 28, 1885.] THE PHOTOGRAPHIC NEWS reality was a young man—telling how the “ splendid athletic fellow has thrown aside the catapult and the cannon, the net and the trapeze, for the brush and palette and the photographic camera," Lulu, it seems, has lately been on an expedition in Africa, and has taken “ hundreds of photographs (which he is now busy developing in the North), from a waterfall rivalling Niagara, to a lion battening on a poor giraffe.” Of ingenious mechanical contrivances for protecting property from thieves we hear much from time to time— safes, any tampering with which by an unwarranted hand, involves the discharge of pistols, the descent of a deluge of water, the opening of a man-trap, and other automatic surprises - but an American diamond merchant, who keeps his stock at night in a brilliantly lighted strong room, is said to have gone a step further, and has rigged up an apparatus, cunningly concealed from sight, in the wall, which, when set to work by the opening of the door of the said strong room, not only subjects any intruder to an electric shock, sharp enough to disable him, at any rate for the time, but, furthermore, sets in action an automatic photographic camera, which, in the course of a few moments, is gua ranteed to secure a large assortment of photographs of the nocturnal visitor from different points of view. Thus, even should the unauthorized caller contrive to make off, unmistakable evidence of his identity would be unwittingly left behind by him, and the public would have an excellent clue ready to their hands ; that is to say, if all is true. The latest outcome of instantaneous photography is a series of eight photographs of professional boxers in the various positions of attack and defence. These photo graphs have been taken as the men were really boxing, and are far more valuable to the aspiring pugilist than pictures of mere posing. Lawn tennis players who emulate the prowess of the brothers Renshaw should prevail upon those renowned champions to be taken while playing. The task would be a difficult one, as a tennis ball is not the most accommodating of objects, and it is impossible to say where the striker will be standing when he hits it; still, this obstacle might be overcome with a little ingenuity. It is probable that photography will never have rendered a greater service to art than in the choice volume on “Japanese Enamels,” just published for private circu lation by Mr. J. L. Bowes, a gentleman who has devoted his life to the collection of specimens of Japanese art pottery. The Japanese are thoroughly imbued with the true artistic spirit, and they have never shown this more forcibly than in the desire to bring back to Japan all the fine specimens of enamel work which were distributed some twenty years ago by the sale in Europe of a number of ancient and modern specimens to supply funds for carrying on the war against the Mikado. Considering how high a position Japanese art now holds, one is apt to forget that not until the exhibition of 1862 was any specimen of Japanese lacquers seen in Loudon. Since 1874 the choice examples of Japanese pottery have been finding their way back to the home of their creation, and so jealous is the Japanese Government over the matter that no more fine specimens of any of the old art crafts are allowed to leave Japan if they can by any possibility be secured for the State Museum. This it is which makes Mr. Bowes’ book so valuable, as he has had photographed his collection of Japanese enamels, which is singularly complete, and will every year, owing to the cause we have stated, become more rare. The photographs are spoken very highly of by the Athenasum. The proper spelling of the word “ photograph ” is evidently a crux for the uneducated. A friend who adver tised for a young lady assistant, received an application which wound up in this way : “ A good refrance from my last situation, being their jest on 3 yrs ; I will send my fotoe if required ” ! The Berlin Chemical Society has been sorely troubled by an outbreak of spots on the marble statue of Liebig, erected in Munich in 1883. The spots were brown in colour, and refused to change when treated by ordinary methods of cleansing, mechanical or chemical. At last, a special commission ofsavans was appointed to enquire into the nature of these blemishes, and after much labour it was discovered that they contained permanganate of potash and nitrate of silver. The nature of the complaint once known, it was, of course, easy to find a remedy in sulphide of ammonium and cyanide of potassium ; but the savans are still as much puzzled to account for the presence of the silver spots as George III. was to understand how the apples got inside apple dumplings. Nitrate of silver, everybody knows, has a most singular knack of getting to the most unexpected places. Is it possible that at some time a photographer set up his tent near the statue ? Those photographers who believe in beautifying thei r portraits by means of retouching, may find some valuable hints on the subject of wrinkles in an article by M. Mante- gazza in the Italian scientific journal Natura. As a rule, wrinkles are normal at the age of forty, but of course may appear much earlier. The vertical wrinkles between the eyes indicate thought or worry. The arched wrinkles of the forehead above the root of the nose, and between the vertical wrinkles just mentioned, and the straight lines which go horizontally across the forehead, are caused both by intense physical pain and acute mental torture. The crow’s feet tell of the passing of the fortieth year—a fact to be especially borne in mind by the retoucher when en gaged on the portrait of a lady. The wrinkles of the nose are the results of old age, those which descend from the nose to the corners of the mouth being the first to appear. The small wrinkles in the lower part of the cheeks near the ears come also in old age. The wrinkles in the upper eyelids are the results of hard living, grief, or anxiety. The causes of wrinkles it may be well to bear in mind when going over a negative, but the intelligent re-