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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
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- http://digital.slub-dresden.de/id1780948042-18830000
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- oai:de:slub-dresden:db:id-1780948042-18830000
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- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Parlamentsperiode
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- Bandzählung
- No. 1290, May 25, 1883
- Digitalisat
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Zeitschrift
The photographic news
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- Titelblatt Titelblatt I
- Register Index III
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THE PHOTOGRAPHIC NEWS Mat 25, 1883.J 323 and “ Gentleman’s Room ’ seen on the right, so we into the studio. There is “ Reception Room,” is now pass in. “ Will you go straight up “ the room below, if you please.” We follow instructions, and enter a second reception room. Here a gentleman looks at the paper we carry, and sounds a little gong. “ Will you take a seat, sir?” We sit down and wait. Then we wander about the room, and look at the pictures on the walls. There are some excel lent examples of carbon printing, and also several highly- finished portraits in colour, very delicate and charming in their way. There are several good enlargements, too, speci mens of encaustic photography, and indeed examples of every branch of the art. There is a little notice also, some thing to the effect that sitters for a carte-de-visite are per mitted three positions, of which proofs are submitted, and then from the pose selected the required copies are printed. We may mention here, in parenthesis, that as a matter of fact, we were only taken in one position, and although we are quite willing to bear testimony to the excellence of the portraits actually supplied, still this notice about “ proofs ” and ‘‘positions ” is a little misleading. Probably we should never have seen it, had we not been kept waiting so long. We look at the time, and find that just five-and-twenty minutes have elapsed since we entered the establishment so briskly, and were assured by the busy clerk we could be taken forthwith, Somebody, too, has been peering at us though the half-open door for some minutes past, and this, perhaps, adds to our discomforture. « Suspicion always haunts the guilty mind.” But he is only an individual bent on the same errand as ourselves, it turns out, for he, too, exhibits a paper to the custodian here, who, as before, makes a sharp sound on the gong. The last comer is evidently some City official, for he has on that white swallow-tail collar peculiar to barris ters, and carries in his hand a soft and bulky bag, in which there is evidently a gown of office. He looks so important, and makes such an impression on his entrance, that we begin to fear our humble demand for a carte will be passed over, and we shall lose our turn. So we adopt a City demeanour once more, and speak out boldly. Watch in hand, we say, “It is exactly half-an-bour since ah assurance was given downstairs that we could be taken at once ; pray be good enough to see if we can be photographed or not." Our friend good-naturedly proceeds to the studio, and, speedily returning, asks us to step up. It is a small apart ment, but most effectively lighted. Illumination comes in from both sides of the sitter—plenty of it—only there is, of course, a light side and subdued side. In fact, we do not remember to have seen any studio with more light around the sitter. Still, the illumination is only confined to the sitter ; along two-thirds of the studio runs a hanging canopy, and under this, deeply recessed, is the camera. The canopy comes up to within a few feet of the model, resembling quite a tunnel in the well-lighted apartment. Thus all the advantages of brilliant illumination are secured, and yet the camera is most efficiently shaded. The artist here is very careful and very pleasant; and here we may remark that, in all three studios we have visited so far, although in no case was it a member of the , firm who posed and lighted, this was done with the utmost attention and forethought. As we have said, but one position only was secured ; but so considerate and so painstaking was the artist in securing this one pose, that, but for the notice downstairs, every visitor could not fail to be thoroughly content. An exposure of two or three > seconds suffices, our artist-friend placing a head-rest behind, “ to feel, if you like.” As we have said, only a single plate i is exposed, and this is not developed until after our departure, a somewhat unwise proceeding, we cannot but think, in these days of gelatine, for, as we have before remarked, however inconvenient it may be for the photo grapher to give his customer a second sitting, this is as nothing compared to the inconvenience to most gentlemen- sitters who have to make a second appointment. In fact, our sojourn in the studio is not only of the briefest, but, after the tedious waiting undergone, it seems to us as if we are packed off with little ceremony. It is the “ one half-pennyworth of bread to this intolerable deal of sack ” that one resents. We repeat, the portrait taken is decidedly good ; but that does not efface the somewhat unceremonious manner of treating us. A customer who only spends ten shillings, while another spends ten pounds, likes nevertheless to feel that he is not under an obligation. We meet the City official on the stairs ; he has not had courage yet to don his grandeur, but brings it up over his arm. Perhaps our visit has been cut short to make way for him. He is received with some ceremony, and the sound of laughing and joking reaches us as we go our way. Blowing our nose a good deal on the way down and in our progress across the shop, we reach Cheapside once more. Our visit has taken nearly fifty minutes, and we cannot help thinking that had we been a stock-broker or a banker’s clerk, or a City solicitor, or a commission agent, or, indeed, anything “in the City,” our time might have been better economised in the establishment. As it is, our minutes are pretty valuable, for we want to visit another studio and have a second portrait taken before noon, want, pay for it, and give your name and number, before even looking at your purchase. But before we can supply the information he wants, a violent fit of sneezing comes on, and our handkerchief is in constant requisition. The truth is, the manager, a portly geptleman, whom we know, and to whom we are known, is looking on within ear-shot. An address is eventually given, and a name; but the clerk is particular ; he wants initials as well. He is so quick in questioning, too, that we actually do give the right initials ; we can’t help ourselves. We receive two pieces of paper, one of them a receipt, and one of them a direction to the artist, and are invited to walk upstairs. You will have your portraits in a week,” he adds. “ Do you supply a proof ? ’’ " No, we don’t find it necessary,” he replies briskly. Do any of our readers remember Ze Hoi Candaule. When, in that funny Trench farce, an old gentleman visiting the theatre—for the scene is the corridor of a theatre—finds the place he has booked, already taken and occupied by another party, he repairs to the box-keeper, and mildly explains his situation in the blandest of tones. To his inexplicable surprise, the official opens upon him the flood-gates of wrath; in violent tones of upbraiding he is informed that the matter is an error, and an error’, too, which “ arrives ” very frequently. The benevolent old gentleman is naturally taken aback, and in an apologetic aside to the audience, quaintly explains how he was under the impression that the matter affected himself, rather than the box-keeper. Somehow this scene occurs to us as we walk upstairs, for it is the sitter usually that finds a proof « necessary.” There is plenty of time to think, too, for it is rather a long way up ; fortunately, there are pictures on every landing, so that the progress is an interesting one. But what makes us suddenly produce our handkerchief again and vigorously apply it ? There is an open door, and over it the name of a gentleman but too familiar with our person and appearance. We pass by safely, and go on mounting. nobody there. . We go up. “ Ladies Room appear right and left; we enter the latter, and finding it nicely arranged, pause for a few moments to set the cravat straight, to pull out our white wristbands to their full extent, and make a general survey. Then we proceed. “ You have come too high, sir,” says the artist upstairs ;
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