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The photographic news
- Bandzählung
- 27.1883
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- 1883
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- Hochschule für Grafik und Buchkunst Leipzig
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Zeitschrift
The photographic news
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Band
Band 27.1883
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- Titelblatt Titelblatt I
- Register Index III
- Ausgabe No. 1270, January 5, 1883 1
- Ausgabe No. 1271, January 12, 1883 17
- Ausgabe No. 1272, January 19, 1883 33
- Ausgabe No. 1273, January 26, 1883 49
- Ausgabe No. 1274, February 2, 1883 65
- Ausgabe No. 1275, February 9, 1883 81
- Ausgabe No. 1276, February 16, 1883 97
- Ausgabe No. 1277, February 23, 1883 113
- Ausgabe No. 1278, March 2, 1883 129
- Ausgabe No. 1279, March 9, 1883 145
- Ausgabe No. 1280, March 16, 1883 161
- Ausgabe No. 1281, March 22, 1883 177
- Ausgabe No. 1282, March 30, 1883 193
- Ausgabe No. 1283, April 6, 1883 209
- Ausgabe No. 1284, April 13, 1883 225
- Ausgabe No. 1285, April 20, 1883 241
- Ausgabe No. 1286, April 27, 1883 257
- Ausgabe No. 1287, May 4, 1883 273
- Ausgabe No. 1288, May 11, 1883 289
- Ausgabe No. 1289, May 18, 1883 305
- Ausgabe No. 1290, May 25, 1883 321
- Ausgabe No. 1291, June 1, 1883 337
- Ausgabe No. 1292, June 8, 1883 353
- Ausgabe No. 1293, June 15, 1883 369
- Ausgabe No. 1294, June 22, 1883 385
- Ausgabe No. 1295, June 29, 1883 401
- Ausgabe No. 1296, July 6, 1883 417
- Ausgabe No. 1297, July 13, 1883 433
- Ausgabe No. 1298, July 20, 1883 449
- Ausgabe No. 1299, July 27, 1883 465
- Ausgabe No. 1300, August 3, 1883 481
- Ausgabe No. 1301, August 10, 1883 497
- Ausgabe No. 1302, August 17, 1883 513
- Ausgabe No. 1303, August 24, 1883 529
- Ausgabe No. 1304, August 31, 1883 545
- Ausgabe No. 1305, September 7, 1883 561
- Ausgabe No. 1306, September 14, 1883 577
- Ausgabe No. 1307, September 21, 1883 593
- Ausgabe No. 1308, September 28, 1883 609
- Ausgabe No. 1309, October 5, 1883 625
- Ausgabe No. 1310, October 12, 1883 641
- Ausgabe No. 1311, October 19, 1883 657
- Ausgabe No. 1312, October 26, 1883 673
- Ausgabe No. 1313, November 2, 1883 689
- Ausgabe No. 1314, November 9, 1883 705
- Ausgabe No. 1315, November 16, 1883 721
- Ausgabe No. 1316, November 23, 1883 737
- Ausgabe No. 1317, November 30, 1883 753
- Ausgabe No. 1318, December 7, 1883 769
- Ausgabe No. 1319, December 14, 1883 785
- Ausgabe No. 1320, December 21, 1883 801
- Ausgabe No. 1321, December 28, 1883 817
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Band 27.1883
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THE PHOTOGRAPHIC NEWS. 179 sitter ; his technical photography was nothing out of the way, but his training as a sculptor gave him an advantage over most of his brethren. In a word, the effective illumination of his models has never been surpassed, if it has ever been equalled. Usually the photographer pays great attention to the construction of his studio, but lacks the judgment to use his illumination ; he overlooks the fact that it is not the designing of ingenious screens, but the thoughtful employment of them, that is necessary to ensure success. He demands of his friends practical hints and implicit directions as to the advisability of letting light in from this side or that, as to making his roof lower or higher, and as to the distance the sitter should be placed from the casement; in brief, he imagines a studio can be constructed that shall at any time give him a plastic, well-modelled, and effectively-lighted result. Our readers will bear us out that photographers who regard lighting from this cut-and-dried point of view are by no means a small class. And there is another class, not verysmall, either, who, beyond trying tosecure an occasional so-called Rembrandt effect, do not study their lighting from one year’s end to another. They find they get pass able pictures with a screen here, and the camera there, and they are satisfied. They do not care for anything beyond conventional limits, and most certainly never get it. Why should the photographer be able to do without what every other artist declares a necessity ? The painter’s model is a part of himself. For the study of drapery and drapery folds, a lay figure serves most of his purposes, and it would be well, indeed, if the photo grapher followed suit, and were to study drapery in the same fashion. There is no one in this country who can photograph drapery like Fritz Luckardt, for one reason, no doubt, because no British photographer has taken the trouble to study it, under the camera, so thoroughly as the well-known Viennese photographer. Whether it is silk or satin, soft wool or stiff brocade, with rigid bends or grace ful folds, Luckhardt will render all its picturesque qualities in the most favourable manner, displaying them to the very margin of the negative. Only systematic study and experi ence in lighting and draping can teach the photographer to do this. Herr Luckhardt knows very well beforehand what he is going to produce; he is sure success will attend his effort before he takes his picture ; that is to say, he has studied the effect of lighting and draping so well, that he can always pose to get a required result. Adam-Salomon, again, as we have said, studied lighting systematically as an art. He did not rely upon his know ledge of statuary to impart ideas; he had recourse to lay figures. He is, indeed, the only photographer we have known whose studio contained not the mere wooden doll of a painter, but life-sized, full-visaged, well-dressed figures, whom the casual visitor might take, at first sight, for a phlegmatic sitter. We saw two of these models on the occasion of our last visit to M. Salomon’s studio, a few days before his death. The complexions of these dolls, their hair and general appearance, were so well rendered, that they served as wonderful substitutes for human models, and it was with their assistance that the famous French photographer worked out those wonderful effects of light and shade that made his name a household word through out Europe. M. Salomon only received sitters for the space of two hours during the day; the rest of the time he devoted to work in his photographic or sculptor’s studio. The benefit of studying light effects with a lay model will be obvious to all, for the mere turn of the head, or deflection of the forehead, often makes all the difference; and when, at last, the happy effect is produced upon the lay model, it is not difficult to light a living sitter after the same manner. Coming next to the living model, it must not be supposed that everyone in this world is suited to play the apparently very easy idle. Apart from appearance and temperament, it takes much to make a good model, as any painter of experience will tell you. And it is for this reason we make so bold as to counsel our readers, when inclined for study, to call to their aid a professional model, rather than anyone else. A professional model, they will find, will often just make all the difference between success and failure in the result, as it frequently does with the painter. And here we may remark on a statement that is now and again put forth to show why photography has no claim to be considered an art—a statement, curiously enough, that never gets properly challenged. It is urged that the photographer must have his model before him, otherwise he cannot produce his result, and therefore it is the model, rather than the photographer, who is the creator of the picture. This is true enough, but, practically, the painter is in the same position. In nine cases out of ten, he could not produce his picture without he had the model before him, and a model, too, appropriately draped and gracefully posed, if the picture is to be a success. Of course, the painter usually possesses more artistic ability, and is endowed with far wider powers, than the photo grapher ; but that is not the question. We simply wish to say that, because a photographer must have a model before him, this is no proof that photography is without title to be considered an art, for the reason that nine painters out of ten could not produce artistic results except under the very same circumstances. To depict a cavalier, the painter sets his model astride a saddle in his studio; to depict a falling man, he suspends his model with hoops and cables from the ceiling; while a fisher man usually stands with net and rope, as if really engaged in fishing. We want to see photographers taking a leaf out of the painter’s book, and studying lighting and draping with trained models. Two-thirds of the portrait studies shown on the walls in Fall Mall every year—one might almost say nine-tenths—would be vastly improved if they would only do this. A girl who has comely features and well- proportioned limbs, and is accustomed to smile or to laugh by the hour together, is a totally different model from the haphazard selections usually made from studio or printing room. The painter does not take the first best person he meets. Either he has made up his mind to a picture, and goes about seeking a fitting model, or one morning some Madonna or Hercules walks into his studio, and forthwith he sees bis way clear to a canvas. Many a great picture has been started into being by the happy arrival of a choice model, and there is no reason why photographers should not benefit by such “ happy thoughts,” as well as their prouder brethren. Look at Rejlander’s pictures; they certainly owe their success more to the study and selection of the model than to anything else. Of course he never attempted a picture unless he first of all realised it, but his way of working was precisely that of the painter ; in other words, he either searched for a model to embody his idea, or else let a model’s appearance suggest a picture for itself. Our main point, however, has been to speak of models as an aid in the photographer’s customary work—how by having comely and passive sitters, specially fitted for posing, he may study systematically the arts of lighting and draping, and thus improve in art photography. There is, obviously, the employment of models in picture making, and photographers who turn their attention to this branch would do equally well to have recourse to the professional model rather than to the occasional amateur. THE ELECTRIC LIGHT IN PHOTOGRAPHY.* The arc light has already been made the subject of experiment in photographic portraiture, and is now regularly used to illuminate a number of studios in Europe. By a new arrange ment of the lights and the studio, the source of light is placed • The Century.
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