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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. 1303, August 24, 1883
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The photographic news
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August 24, 1883.] THE PHOTOGRAPHIC NEWS. 531 Marsh Brothers, Henley-on-Thames; McLiesh, Darling ton; Manfield, Northampton; Mauren, Brussels; Nor man and Co., Tunbridge Wells ; C. Perier, Paris ; Pfen- niger, St. Gallen; A. Petitt, Keswick; H. Ruckwardt, Berlin; G. Renwick, Burton; Mlle. Relvas, Gollega ; de Selvys Longchamps, Liege ; Storms, Antwerp ; Standen- heim, Feld-kirchen ; H. Stevens, London; G. Whaite, Southport; Wyllie, Cambridge ; Wurthle and Spinnhirn, Salzburg. 3 Genre pictures — G. Brokescb, Leipzig; Chaffin and Sons, Taunton; A. Diston, Leven; C. Eckert, Prague; H. P. Robinson, Tunbridge Wells; Slingsby, Lincoln. 4. Reproductions —Alexandre Drains, Brussels; W. Otto, Dusseldorf. 5. Instantaneous pictures —Anschiitz, Lissa; Alexandre Drains, Brussels ; Brown rigg, Guildford; H. Colard, Brussels; L. Charles, Brussels ; Grassin, Boulogne-sur-Mer; Godbold, St. Leon ards ; Lauwereyns, Brussels ; Lugardon, Geneva ; Marsh Brothers, Henley-on-Thames; Sutcliff, Whitby; Storms, Antwerp ; J. West and Son, Gosport; Standenheim, Feld kirchen. E. Photographs on paper by development.—1. Platinotype —W. Gillard, Gloucester (genre); H. Manfield, North ampton (views) ; Platinotype Co., London (portraits and views); G. Pizzighelli, Vienna; J. Taschler and Signer, Basel (genre) ; G. Renwick, Burton (views); 2. Gelatino- bromide paper — D. Hutinet, Paris (enlargements); Morgan and Kidd, Greenwich (portraits and enlarge ments) ; Storms, Antwerp (enlargements). F. Cyanotype, ^c.— Kymeulen-Pettens, Brussels. G Vitrified photographs.—Leisner, Waldenburg ; Batkin- Verregen, Brussels. H. Apparatus.—E. Corroyer, Brussels; N. Fischer, Copenhagen ; C. Hofmans, Brussels; G. Hare, London ; Hunter and Sands, London ; Dr. Just, Vienna ; H. Martin, Paris - E. S. Montefiore, Paris ; Mackenstein, Paris ; J. De Neck, Brussels; E. Rentiers, Brussels ; Shew and Co., London ; Thury and Amey, Geneva ; Tokstein, Meidling; Watson and Son, London. I. Photographic literature.—H. Baden Pritchard, London ; Gauthier-Villars, Paris ; A. Liebert, Paris ; Lon Vidal, Baris; H. Colard and C. Campo, Brussels ; Association Beige de la Photographie, Brussels. J. Publications illustrated by photography.—L. Aillaud, Albi; Dr. Fritsch, Berlin; Julien Laferriere, Larochelle; J. Maes, Antwerp ; Woodbury Co., London. K. Photo-micrographs and applications of photography to science.—J. Coupe, Termonde ; Socit Beige de Micro- scopie, Brussels; J. Girard, Paris ; J. Ward, Brussels. L. Various—Balagny, Paris (sensitive pellicles) ; Chau- vigne, Tours (photo painting) ; Engel Feithknecht, Donanne (dry plates) ; Gelatine fabric, Winterthur (gela tine); Janssen and Co., Cologne (accessories); Dr. Just, Vienna (paper); Rebo des Montils, Paris (photo painting) ; York and Son, London (transparencies); T. Burato, Zara (transparencies by the gelatino-chloride process). It must not be supposed that those exhibits coming under section A, and which we failed to notice last week, are devoid of merit. Aubry, of Brussels, shows excellent work, including some highly successful chromo-collotypes, while the extensive series of collotypes by Leroux, of Algiers, interested us as being the first we have seen coming from Africa. This series includes reproductions in black-and-white, copies of other works of art, and portraits from nature. Success in collotype work is evi dently not very much dependent on climatic influences. The quality of the work executed by Lbwy, of Vienna, and Strumper, of Hamburg, is so well known as to need no comment. Class B, which includes other photo-mechanical methods, presents notable features of novelty and interest, the magnificent block work (from negatives after nature) being, as we remarked last week, a characteristic by which this Exhibition will be remembered. And now that nflucntial firms like Goupil and the Autotype Pub ¬ lishing Association of Munich have taken the matter in hand, starting rather with the exhibition of large and good specimens of work than with high-flown statements of what they are going to do, we imagine that photo-tint block printing has a fair chance of becoming a very important industrial reality before long. The Auto type publishers’ blocks appear, as we stated before, to be made by some modification of Ives’ process, and are said to be covered by the patents of Meissenbach, these having been taken out in all important countries; but the specifi cations have not yet been published. The Portal of Reims Cathedral, from a negative by Trompette, is a very fine block print by Goupil, the fine tint-gradations of the decaying stone being admirably rendered. The block is about fourteen inches high. Another notable block print of the same firm is one from a negative by Abney ; it is a charming little picture of water and foliage. Magnificent examples of intaglio-plate engraving from negatives after nature are contributed by Arents, Evely and Deron, Klic, Scamoni, Dujardin, Goupil, and others, but this method of photographic reproduction appears to us unlikely to become of enormous commercial importance, as the pro cess of printing from the plates is slow and expensive. The carbon process, Class C, is well represented, but we noticed but few examples of large work. We may especially mention the instantaneous pictures of Harrison, and the portraits on opal exhibited by Salomon. As might have been expected, the greater part of the pictures shown come under Class D, as direct prints on albumenized paper still form the staple of photographic productions. The admirable style of lighting realised by Karelinn, of Nijni-Novgorod, is well set forth by a series of which the largest picture is nearly three feet high, and all these were taken directly on wet plates. Exhibits from England are numerous; the portraits of Byrne, A. Lewis, J. Moffat, and others compare well with continental pictures; while, for those peculiar characters which often distinguish the work of English landscapists, the pictures of Brownrigg, Bedford, England, Marsh Bros., McLiesh, and G. Whaite, stand unrivalled. Donkin’s pictures of the High Alps attracted much attention, and we observed some charming new studies by Slingsby, as " I’m coming,” and “ Ready,” which represent a child in the act of leaving the fork of a tree for a ride on the shouldersofa grown friend. Class E, which includes platinotype, comes chiefly from England ; but the prints sent by Captain Pizzighelli certainly possess a depth and vigour which are very rarely realised in platinum pictures. We alluded last week to the vitrified collotypes of Batkin-Verregen, of Brussels, and we may mention that the effect of the pictures is in several cases made more realistic by imprinting the image on a bas-relief. Leisner shows some excellent photo-enamels on plaques over a foot high. An exhibit of especial interest is that of Dr. Just, of Vienna, and consists of a series of machine-printed photo graphs, a band of sensitised paper being used. Probably the machine is somewhat similar to that patented about twenty years ago by Fontayne, and to which we recently called attention. Four series of prints on the band of paper are shown, and from 400 to 500 impressions •per hour can be obtained in ordinary daylight when gelatino-chloride paper is used. By gaslight, an exposure of as much as two minutes is required for each print, so that about twenty-four copies per hour can be obtained. Dr. Just also shows platinotype prints obtained in bands by his machine. A few words, in conclusion, upon the British exhibits. The collection of Mr. W. Bedford includes his fine picture of • Warwick Castle,” with which many of our readers are familiar, together with other leafy nooks from England and Wales. Mr. Edward Brightman, of Bristol, shows pictures of Lynmouth, of the Lynn, and other studies from North Wales that we have previously had an opportunity
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