Suche löschen...
The photographic news
- Bandzählung
- 27.1883
- Erscheinungsdatum
- 1883
- Sprache
- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- SLUB Dresden
- Lizenz-/Rechtehinweis
- Public Domain Mark 1.0
- URN
- urn:nbn:de:bsz:14-db-id1780948042-188300004
- PURL
- http://digital.slub-dresden.de/id1780948042-18830000
- OAI-Identifier
- oai:de:slub-dresden:db:id-1780948042-18830000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
- Strukturtyp
- Band
- Parlamentsperiode
- -
- Wahlperiode
- -
- Bandzählung
- No. 1276, February 16, 1883
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
- -
-
Zeitschrift
The photographic news
-
Band
Band
-
- Titelblatt Titelblatt I
- Register Index III
- Ausgabe Ausgabe 1
- Ausgabe Ausgabe 17
- Ausgabe Ausgabe 33
- Ausgabe Ausgabe 49
- Ausgabe Ausgabe 65
- Ausgabe Ausgabe 81
- Ausgabe Ausgabe 97
- Ausgabe Ausgabe 113
- Ausgabe Ausgabe 129
- Ausgabe Ausgabe 145
- Ausgabe Ausgabe 161
- Ausgabe Ausgabe 177
- Ausgabe Ausgabe 193
- Ausgabe Ausgabe 209
- Ausgabe Ausgabe 225
- Ausgabe Ausgabe 241
- Ausgabe Ausgabe 257
- Ausgabe Ausgabe 273
- Ausgabe Ausgabe 289
- Ausgabe Ausgabe 305
- Ausgabe Ausgabe 321
- Ausgabe Ausgabe 337
- Ausgabe Ausgabe 353
- Ausgabe Ausgabe 369
- Ausgabe Ausgabe 385
- Ausgabe Ausgabe 401
- Ausgabe Ausgabe 417
- Ausgabe Ausgabe 433
- Ausgabe Ausgabe 449
- Ausgabe Ausgabe 465
- Ausgabe Ausgabe 481
- Ausgabe Ausgabe 497
- Ausgabe Ausgabe 513
- Ausgabe Ausgabe 529
- Ausgabe Ausgabe 545
- Ausgabe Ausgabe 561
- Ausgabe Ausgabe 577
- Ausgabe Ausgabe 593
- Ausgabe Ausgabe 609
- Ausgabe Ausgabe 625
- Ausgabe Ausgabe 641
- Ausgabe Ausgabe 657
- Ausgabe Ausgabe 673
- Ausgabe Ausgabe 689
- Ausgabe Ausgabe 705
- Ausgabe Ausgabe 721
- Ausgabe Ausgabe 737
- Ausgabe Ausgabe 753
- Ausgabe Ausgabe 769
- Ausgabe Ausgabe 785
- Ausgabe Ausgabe 801
- Ausgabe Ausgabe 817
-
Band
Band
-
- Titel
- The photographic news
- Autor
- Links
- Downloads
- Einzelseite als Bild herunterladen (JPG)
-
Volltext Seite (XML)
100 THE PHOTOGRAPHIC NEWS. LFEBRVARY 16, 1883. he cannot tell with certainty that the pots made now may not turn out failures in six or twelve months hence. The figures show sufficiently clearly the general forms of pots. Fig. 1 is that of an ordinary open pot, such as is used in the manufacture of ordinary window glass, rolled and rough plate, polished plate, bottles, and such glass as does not require to be fused out of contact with the flame. The dimensions vary according to the requirements. Some will hold six cwt., and others contain above a ton ; from four feet to six feet in diameter, and proportionate depth. Fig. 2 shows closed pots—back, front, and side. These Fig.2 are employed for the fusion of lead glass, optical glass, fine coloured glass, and all such “ metals ” as require to be melted out of contact with flame. Their capacity ranges from two cwt. to ten cwt., according to the size of the fur nace, and the nature and kind of work for which they are required. Our next will treat of furnaces. • Wome. MR. HERBERT BARRAUD IN OXFORD STREET. “ The view reminds you of that from Van Bosch’s studio, in Paris,” is what we say when we reach Mr. Barraud’s first floor. Oxford Street, however, wide and handsome as it is at this point, is hardly so attractive as the Boule vards, for there is more of business and less of pleasure visible in the London thoroughfare. Still, Mr. Barraud’s studio may well be compared with the noted Paris house, if only because it is newly constructed, with taste and style, and indicates a spirited desire to make a step for wards beyond conventional limits. Mr. Barraud, in establishing his new studio, possessed an advantage few London photographers enjoy. He could order things as he liked, and thus was able to dispose his arrangements as he pleased. There is plenty of light in a broad thoroughfare like Oxford Street, only you must go to the very top of a building to get it. Mr. Burraud has gone to the top to build his glass-room, and has succeeded so well that he looks down on everybody around him, his side-light coming in directly due north. The light, indeed, floods in from both sides and from the roof in such a manner that means have to be employed for modifying it, similar to those we have seen in use in Southern Europe. To obviate the difficulty of mounting four or five pairs of stairs to this lofty eminence, Mr. Barraud has recourse to a comfortable lift, admirably worked by a gas-engine, and thus the sitter, if an invalid, has no more trouble in reach ing the glass-room or dressing-rooms than if they were next door to the reception room. And, be it remarked, it is not only invalids and elderly sitters who are affected by a steep ascent; few people can mount some forty or fifty stairs and be ready at the end of the journey to sit down, then and there, to be posed for a portrait. We have mentioned the word reception room ; but there is, strictly speaking, no such apartment in Mr. Barraud’s studio. The establishment is more of the nature of a picture gallery, and the polished pine and stained-glass work throughout are in keeping with this. Both on the ground floor and on the first floor is a handsome display of pictures; but, as if to temper this aspect of grandeur, and to give confidence to timid customers, a card of terms is wisely put in the window. Mr. Barraud’s prices are not high; he informs passers-by that, in respect to cartes-de-visite, the fee “ for sitting,” and for two proofs and six conies, is half-a-guinea, or one guinea for twenty-four copies ; for half-a-guinea, a “sitting” for a cabinet picture is given; but only one proof or copy supplied, the charge for six copies and two proofs being eighteen shillings. In respect to promenade and panel portraits, Mr. Barraud, curiously enough, places on his card of terms “ Fee for taking nega tive and proof” ; for the former 21s., for the latter 42s. We do not know if he has any reason for changing the wording in this manner ; but if not, we think “ for sitting” is decidedly preferable, if only beeanse no allusion is made to the negative. One does not want the old dis pute as to the ownership of the negative to crop up again ; and, it may be, that charging “ for taking nega tive” will convey to some minds that the negative is included in the bargain. We presume Mr. Barraud does not give re-sittings without extra charge ; at any rate, no one could claim such privilege as a right in these circum stances. We have no need to tell that Mr. Barraud does excellent work, for of that our readers are already aware. A fine picture of the Duke of Cambridge, and another of the late Archbishop of Canterbury—who, by-the-way, looks very much like the Rev. Charles Voysey in his canonicals— are the most striking attractions in the lower gallery; while, on the first floor, we meet with a capital likeness of the late Mr. Rose, better known as Arthur Sketchley, and, best of all, as Mrs. Brown. A very fine photograph of Broughton Castle is here, too, a magnificent pile of grey stone, with the sedgy banks of the moat forming an artistic foreground. The picture, however, represents but a portion of this “ stately home of England,” for its proportions are too large to be included in a single view from this point; and it is sometimes inconvenient to follow Mr. Toole’s quaint advice to “ use a dish when the picture is too big for a plate.” The glass-room itself is of spacious proportions. The floor is of pitch pine, laid upon concrete, its smoothness and evenness much facilitating the movement of screens and apparatus, which are, for the most part, furnished with rubber castors. But the striking feature of the apartment is the air of lightness and comfort that pre vails. A skirting-board or panelling—also of polished pine—rises to the height of three feet, and above this are large and handsome glass windows. The side walls rise fifteen feet to the slope of the roof, and the full height in the middle is about twenty-five feet, so that it is decidedly a lofty studio. There are no white or blue curtains at the side, but, instead, thick, opaque Turkey hangings, which can be drawn across. Above, the glass roof may be shaded by white blinds and by black blinds, laid one over the other, and moving by spring rollers. These blinds are worked by cords in the usual manner; the white blinds are pulled over first, resting upon three copper wires for support, and if this does not give sufficient shade, then the black blinds above them are also pulled across, these having a separate set of wires for support. No putty has been employed for glazing. The glass panes in their frames are screwed down against india- rubber, and so completely successful is this plan of fitting, that, during the past rainy winter not a drop of moisture entered the studio. To this method of glazing, as also to the use of heavy hangings and of an earthenware stove — Doulton's radiating stove is the name, we believe—is due the warmth and comfort experienced on entering the glass-room. There is no chilliness or unpleasant draught encountered in any part of the room, a state of things, we need not say, duly appreciated by all sitters who enter it. We have said that apparatus and screens are, for the most part, fitted with rubber castors. The background—one of Avery’s make—is thus provided, and is eminently practical. A plain screen or background, together with
- Aktuelle Seite (TXT)
- METS Datei (XML)
- IIIF Manifest (JSON)