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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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- urn:nbn:de:bsz:14-db-id1780948042-188300004
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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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- Bandzählung
- No. 1273, January 26, 1883
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Zeitschrift
The photographic news
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- Titelblatt Titelblatt I
- Register Index III
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JANUARY 26, 1883.] THE PHOTOGRAPHIC NEWS. 51 and Kidd, as an important part of their invention, but up to the present time devices of this kind have not come into general use. Much stress is laid on the advantages of curving these blocks, but considering that most photo graphic lenses and dark slides are reconstructed for use with flat plates, we imagine that the curved gelatino- bromide blocks are not likely to be adopted just yet; unless, indeed, anyone who happens to possess a Sutton’s panoramic camera and lens should care to try a few exposures. The most important point as regards the preparation of gelatino-bromide paper is to prevent the sensitive emul sion from soaking into the substance of the support, and this end is most effectually attained by the use of the preliminary emulsion or enamel. ABOUT SOME STUDIOS. One of these days we propose to begin a series of papers upon studios looked at from the point of view of the public. Our “At Home” series, which we have by no means exhausted, has, we think, informed our readers on divers matters, and on the whole, we hope, has been invested with some interest; but, from the nature of things, the information they gave was occasionally very one-sided. It is always well to know what is passing behind the scenes; and the actor in a drama is as interested as any of his audience can well be, to know how the play looks from the front. Indeed, to carry the simile further, we find that tragedians and comedians, when a holiday is vouchsafed them, usually spend it at the play-house to see how the public take this scene or that; how they appreciate this style of melodrama, or that strain of humour. In like manner we think photographers are interested in « the front of the house," as well as in studio, laboratory, and dark-room. If they learn how the drama is enacted by other managers, they can tell how far they are right and how far wrong in their own method of working. For, as we have pointed out more than once in our vagaries in these columns, a photographer may be the best artist in the world, and yet fail to make a living, if he lacks tact and business ability. Let a theatrical manager produce nothing but the purest and most classic plays he can find, and get them performed by the ablest actors, and he will find his benches forsaken, and his treasury empty, unless he is cognisant with the ways of the world, and exhibits tact and discretion as well as the legitimate drama. Opinions are divided upon the subject of Mr. Belt’s talent as an artist; but whether he is a good sculptor or a bad one, there is no doubt about his business ability, about his good fortune in securing commissions, and getting lucrative work. We have no desire to see the business side of photography elbow from the front artistic training and cultivated genius; but still we must repeat that, if a man wishes to gain more than his bread and cheese in this world, it behoves him to learn something of the world by which he is to live. Mow, one point that generally strikes us upon entering a studio is the unnecessary grandeur and size of many of the picturesand paintings on the walls. When a customer enters a studio in which something more is demanded than the popular price of five shillings for a dozen cartes, he naturally expects to find areception room unAentourage — if we may be permitted the word—something above the ordinary stamp. It is the way of the world. You do not pay a guinea or two guineas to consult a medical man who lives in the New Cut or Whitechapel Road ; if you pay this sum, you somehow expect it will be at a well-to-do house in the West—in Saville Row, for instance, or George Street, Hanover Square. And the medical man, be he surgeon or physician, knows this just as well as you do ; for the guinea or two-guinea fee you pay, you not only require first-rate advice, but given in a first-rate locality. The advice would be just as valuable if you had picked it up in Lambeth or Whitechapel; but as it is not the way of the world to purvey high medical opinions in those localities, we have come to look upon the two things as inseparable. So it is with photographic studios, and every thing else of a like nature. When a customer makes up his mind to spend half-a-guinea, a guinea, or may-be two or three, upon a portrait, he anticipates a studio in a nice locality, comfortably fitted, and with a reception room in which he may pass a quarter of an hour looking at pictures and specimens. Now, so far as concerns the fitting up and furnishing of well-to-do studios of this nature, we have nothing to say. We have, in our time, visited a large number of them, and the taste and style of the re ception rooms generally deserve high praise. Photo graphers, in a word, are quite alive as to the necessity of treating the public as it should be treated, when it is asked to spend money, and the only word we have to say on the subject, is relative to the question of overdoing a certain feature of the studio. One wants to impress a visitor, and to show that he need not fear an inadequate return for his money ; but it is also necessary that one’s endeavours to please should not be misunderstood. And this, we fear, is sometimes the case, when he perceives on the walls so many grand and highly-burnished portraits, so many big, heavily-framed pictures that overwhelm, rather than impress him favourably. The bigger portraits, too, are generally coloured, and the consequence is, the visitor begins to fancy he has entered the room of a picture-dealer rather than that of a photographer. That the pictures in question ate often painted by artists of high ability and finished in exquisite taste—indeed, as we know, the painter’s fee is frequently fifty and a hundred guineas—is not to the point; in fact, the better they are, in a sense, the more prejudicial may be their primary influence. The customer has walked upstairs with a view to paying a guinea fee, and securing a dozen carte portraits, or perhaps half-a- dozen cabinets ; he does not like to think his order is a petty one, and that bis payment looks mean. He is ready to spend his money like a man, but has no idea of parting with it in misery fashion. He would far rather go to some more modest establishment where he would be appreciated, if he is in the way, for there is scarcely a specimen of a small portrait to be seen, and but one or two cabinet pic tures ; the collection he views is made up of magnificent portraits with grand titles, and fine, life-sized paintings. The lady-attendant, may be, is politeness itself, and will insist, when the customer hesitatingly puts forward his modest demand, that the firm will be most happy to execute it; but even if she wisely desists from exhibiting the qualities of the bigger and more expensive pictures, the customer is not set at rest by her assurances. The im pressive grandeur of the collection has been too much for him. To put the matter briefly, there has been of late too much disposition to suppress the carte and smaller por traits in the reception room. The newer, grander formats are permitted to take up all the room. In Paris, this plan is even more marked than in London ; and in one studio we recently visited there was not a single specimen of the carte-de-visite to be seen. Far be it from us to inveigh against novelty or against attractive modifications in any form. But do not run upon Scylla while avoiding Charybdis. The demand for small portraits is still very great; and there is a large class—among middle-aged men —who think very decidedly that the smaller they are photographed the better. These are quite willing, too, to part with their money, though they are exceedingly shy— more, perhaps, because they are afraid of being laughed at by their relatives than from any other reason—about any thing that might be charged to their vanity or to moral weakness. We are quite aware that, in nine cases out of ten, the
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