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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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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1284, April 13, 1883
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The photographic news
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- Titelblatt Titelblatt I
- Register Index III
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APRIL 13, 1883. | THE PHOTOGRAPHIC NEWS. 235 me say that I do not for a moment suppose that I shall bring anything new or startling to bear on the subject, or, in fact, give a formula for catching the particular expression of any particular child; yet I believe that by carefully following the lines I shall lay down you will probably succeed where before you may possibly have failed. Now, before we proceed to the actual taking of the child, or what I should rather term the “ artistic side of the question,” let us consider whether the photographing of children is a success financially. 1 would say undoubtedly a success. Rapid dry plates specially prepared for children, backgrounds for children, baby lenses at anything but baby prices, made for photographers with big pockets, &c —these things, taken with the fact that through the children you gain the parents, all go to prove that the photographing of children is a paying business. And yet how many photographers there are who would rather toil up a snowy mountain to photograph a favourite view, or conduct certain experiments in a very uncertain light for several hours at a stretch, than face a child of three months’ growth for the small space of fifteen minutes! The antipathy shown to children by some photographers is something amusing. Many refuse to photograph them ; others declare they are a nuisance; while some say they would rather see the D come into the gallery than a child ! All this is caused by the want of a very desirable quality in all photographic operations—that is, patience. If it be really a matter of necessity that you should lose your temper, by all means do it in the dark-room ; but always present a cheerful front to the enemy. Before we proceed to the studio, I would like to mention a little circumstance that took place last year. I happened to call on a photographic friend, and found him busily engaged photo graphing a little boy. He had spent about an hour with him, and succeeded in wasting nearly a dozen plates. The young lady in the show-room was coming up every five minutes, saying that the sitters were getting tired out, and could not wait any longer ; the frame-maker was waiting for his account—did he think he would be long, &c. These things, taken with the intense heat of the day, show you where patience is required. At last, after spending an hour and a-half, he obtained one posi tion. “ Now 1 now 1 ” exclaimed the father, “ we’ll have a second position.” “ No ! ” roared the now thoroughly-enraged photographer, “ I’ll be hanged if we do ! ” The father took the child away without paying for the time and trouble he bad in curred, indignant that he could not have as many positions of his child as he chose to pay for. Here was an instance where tact had refused to come to the assistance of patience and long- suffering. The mistake here, I fancy, lay in the want of a fixed rule to pay before sitting, or to give not more than a certain amount of time to each child. Photographers, however, soon find out what best suits their own businesses, and the class of customers with which they have to deal. We will now imagine we have a child in the show-room—a baby, we will suppose. If it be crying, let it stop there by all means till it is done. The mother will probably soothe it in a manner that no operator could attempt, and in a much shorter time. While this operation is being performed, ascertain the size required, fill your elide, and have it handy. Remove all traces of head-rest, &c.; and, if you have one, use a light back ground, as rapid exposures against a dark ground seldom have a pleasing effect. A platform about eighteen inches in height, and five feet square, will be found a very useful accessory for children, as it saves you pointing down the lens, and also firings the children into a better light. The baby is now here, and as you have made use of your minute or so of spare time, you are at liberty to amuse the child to the best of your ability. A very good thing to throw a baby into, is an old arm-chair with two or three velvet cushions to make it feel soft and comfortable. This in itself is a good step toward success. By the way, allow no one to actually come into the studio with you but the mother or nurse ; if you do, one is sure to plant herself one side of the camera, and one on the other. Your left-hand neighbour is shaking a pocket-hand kerchief ; the other to your right is violently blowing a penny trumpet. You yourself feel like a fool between the two ; the child itself is similarly situated ; and the result is disappoint ment and failure. No 1 You must insist on only one coming into the studio, and that is another step toward success. Well, we are now ready to expose. Make some idiotic noise with the mouth. The child has a nice, bright look now. You expose. Ah 1 it moved just before you got the cap on. Never mind ; fill your slide again, and wonder what they used to do in the days of the old wet plates. Everything is ready, and, to your surprise, he is looking the very way you want him. You expose, giving a good, full exposure. With a sigh of relief you turn to take out your slide, and find that you have not drawn the shutter. Suppressing all inward desire of prayer, you set your teeth firmly and prepare for your third attempt, and this time succeed. Do not try any one kind of amusement too long, as it tires them. The rustling of a piece of paper, striking a match, play ing on an old concertina (preferably one where all the notes sound together, as it is more discordant and attracts attention sooner), the mewing of a cat, and imitation of a parrot, I have found most efficacious. The mewing of a cat is very useful when photographing dogs. We now come to a more difficult age—children from two to five ; but with our old friend patience to assist us, there is little fear but we shall succeed. Have a good assortment of toys at hand, but do not show them all at once, or you will have nothing to fall back upon. If the child appear nervous or frightened, get whoever is with it to do the principal part of the amusing until the child’s mistrust of you has worn off, and again I think your patience will be rewarded. But should you get a child that screams at the highest pitch of its voice, dances on the floor, &c., and says that he won’t, that is surely a spoilt child, and the parents may thank themselves, and not blame you for not being able to photograph it. One more type, and I have done. Little girls under ten are sometimes shy, stiff, and awkward to pose. Have a few exam ples of newly-posed pictures by you. Show them; tell them how much nicer they would look if they would but allow you to pose them, and I think this method will yield the desired result. In conclusion: never let a child be scolded in the studio ; never let it be stuffed with sweet cakes there; never give it the penny you promised before sitting; and never lose your temper. Uorrespondence. MIGNON PORTRAITS. Dear Sir,—I have no doubt the Mignon portrait would answer well in this country, and I for one am anxious to try them. But I do not think the card mounts—I mean such small ones—are to be obtained from English dealers. Can you give me the address of a dealer in Paris who makes them 'I I do not suppose the cost of carriage would be very much.—Faithfully yours, T. W. Leeds, IQth April, 1883. [We should have no difficulty in giving the address of a Paris dealer, but we think that if our correspondent makes application to some of our advertisers, they will be able to get him the cards. If he is then unsuccessful, we shall be happy to assist.—Ed. P.N.] Sir,—The adoption of the Mignon portrait in England is, I think, only a question of money. What do the mounts cost 'I Will you please let me know ? EDWARD Watherson. [We do not know the price of the mounts ; they would naturally be rather expensive ; but if they take with the public, that is surely the chief consideration.—Ed. P.N.] A PLEA FOR PHYLLIS. Dear Sir,—In your article “ By-the-Bye,” March 30tb, many excuses are made for people not liking their own portrait; but I think the real cause is omitted. When we see ourselves, it is by the aid of a reflector, and, of course, our features are reversed. I think there is every excuse for Phyllis saying: “I should never have known it 1 ” when we take into con sideration that she has never seen herself as others see her, and as the portrait represents her. She knows there is a spot on her right cheek, her left eye somewhat smaller than
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