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The photographic news
- Bandzählung
- 29.1885
- Erscheinungsdatum
- 1885
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- Englisch
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1414, October 9, 1885
- Digitalisat
- SLUB Dresden
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- Parlamentsperiode
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Zeitschrift
The photographic news
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Band
Band 29.1885
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- Register Index III
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Band
Band 29.1885
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- Titel
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OcTOBER 9, 1885.J the ordinary method of hanging pictures, sloping with their upper edges forward, absolutely requires, if correct perspective is to be obtained, that the lines converge a Whether the reader agrees with us in this matter or not, he must agree that many photographs in which there is a slight amount of convergence of vertical lines have found acceptance with the public. What we wish here to point out is the precautions which should be observed in trim ming such prints. A moment’s reflection will show that it will not do to trim the sides of the print parallel with one of the vertical lines near either edge, as may be done when such lines are represented parallel. The result of such trimming will be to make the object appear to be falling to one side. Indeed, it is only with a central verti cal line that the sides of the print can be made parallel. In the case of there being no such line, we should, did we wish to be mathematically correct, proceed to get the direction of trimming in the following manner by con struction. Taking a spare print, we should erecta perpen dicular from any vertical line represented in it, and a second perpendicular from any other vertical line, so plac ing the second perpendicular that it would intersect the first in the print. The line got by bisection of the obtuse angle formed by the intersection of two perpendiculars would be one with which the sides of the prints are to be cut parallel. In practice it is generally quite easy to divide the con vergence by eye, the only difliculty arising when the vertical lines are all on one side of the picture. Another fault that we have noticed in trimming is seen in the case of seascapes, when the bottom of the print has not been trimmed parallel with the sea horizons. It may be taken as an absolute rule that where the sea horizon is visible, the bottom and top of the print should be cut parallel with it, and the sides, of course, at right angles to it. It will be found that this will never be incompatible with the rules given for vertical lines where both these and a sea horizon are visible on the same print. " On the other hand, it is to be observed that any hori zontal line in a landscape, except the horizon itself, cannot be taken as a basis for the direction of trimming. It is only in the few cases where such horizontal line is at pre cisely same height as the lens, or when it runs at right angles with the axis of the lens, or when both conditions are fulfilled, that the line should appear horizontal in the picture. We have seen many a picture in which a horizontal line nearly, but not quite, fulfilled one or other or both of the conditions mentioned, and had evidently been used as a guide for trimming the print, with the result that the vertical linos were all caused to appear to lean to one side. WHO SHOULD HAVE THE HONOUR? BY II. P. ROBINSON. When Sheridan’s son told his father that he had been down a coal-mine for the sake of being able to say he had performed such an exploit, his father, with a morality that may be easily appreciated in our own times, replied that he could as easily have said he had been down without actually descending. It seems to be an equally simple- minded proceeding now-a-days for a photographer to take his own photographs. There was a time when an amateur felt that the least that could be expected of him was to select the subjects and make the exposures, but “ we have changed all that,” and would-be-thought-photographers can now get everything done for them from baginning to end. It is, I believe, true, or at any rate “ well found,” that a firm of photographers at Niagara supply exposed but undeveloped plates of the Falls, so that all that is necessary to become a photographer is to buy one of these P atese.send it first to a developer, then to a printer, after- "ards to a mounter and framer, and, finally, contribute it to an exhibition, and take a medal with it. It is inconvenient that several identical prints may be sent in with the names of different producers on them, for I hear that the enter prising American photographers are doing such a roaring trade, that they have ceased to exposetheir plates on nature, and take them from a transparency; but this is a risk that has been run for years by those who buy sky negatives and use them as their own. It seems almost absurd to ask the question, in reference to the taking of a successful photograph, “ Who should have the honour?” but it is now a well-known and much- to-be-regretted fact that medals are sometimes awarded to men who had nothing to do with the production of the picture to which the awards were made. I know of one case a year or two ago, in which the taker of the medal first saw the picture to which the honour was awarded in the Exhibition itself. It may be legally honest for an em ployer to claim the credit for work for which he has paid, but it is artistically a crime for one man to put himself forward as the producer of work which was due to the genius—or, to put it more mildly, the persevering talent—of another. If this was followed out to its logical conclusion, the winning of medals would be a mere matter of money. The one who could afford to employ the best talent would have the advantage over all others. Sometimes the best- intentioned jurors are defeated by the very persons they try to help. Some years ago a jury of the Photographic Society of Great Britain endeavoured to do justice, in awarding a medal to the School of Military Engineering, by adding the remark that the medal was intended for the actual producer of the picture, and not to the general, un personal “ School.” The officer under whose charge the School was then conducted, replied that it would be con trary to etiquette to mention the name of the individual photographer, and the Council of the Society rather weakly gave way, and allowed the medal to go to the School; and the same thing has occurred over and over again down to the present Exhibition. In the art of war, the General usually has the credit of a victory, and the same principle seems sometimes to be understood in lesser arts, such as photography, perhaps because a medal may be as difficult to divide as Birdofredum Sawin supposed Glory to be, when he said the glory never got down to the ranks. “An’ s’pose we hed, I wonder how you’re going to contrive its Division so’s to give a piece to twenty thousand privits." It was afterwards ingeniously argued that the function of the jury was to determine which picture merited recogni tion, not which photographer. This was not a bad retort, as far as it went, if the picture was a sentient thing, which could accept a medal when offered to it; but common sense would surely suggest that it is the producer of a suc cess who should be decorated. That this is so, is evident. Medals are usually stated to be awarded to Mr. -, for his picture No. —, and the theory is, however erroneous the assumption may be, that the exhibitor is also the pro ducer. In only one instance do I remember a master modestly declining to take the credit for pictures produced by his assistants, and we have to go to America for our example. At the last American Convention a medal was awarded to Mr. Ryder for a noble display of photographs ; but with a frankness that, as things go, did him more honour than any medal could, he declined to accept credit for work done entirely by his assistants. Can anything be done to remedy the evil ? It would be impossible for jurors to enquire into the truth. When a man, otherwise unconvicted of falsehood, sends a picture to an exhibition with his name on it, the managers of the exhibition are bound to believe that it is his own pro duction, and treat it accordingly. I am afraid redress must be left iu the hands of those who are least able to help themselves —the employed. In the case of firms there may be some difficulty. It must be acknowledged that to exhibit means, more or less, to advertise, and it is certainly more profitable to advertise the firm than the individual
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