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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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- Bandzählung
- No. 1315, November 16, 1883
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The photographic news
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Band 27.1883
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- Titelblatt Titelblatt I
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Band 27.1883
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724 THE PHOTOGRAPHIC NEWS. LNovEMBER 16, 1883. true our French and German brethren produce more vignetted portraits than are taken in studios in this country, and that is one reason, no doubt, why the use of furniture is more rarely called for ; but it is not the only reason. Rather the circumstance that the cabinet portrait took its rise in this country, and was at first, at any rate, only employed for standing or full-length models, is the why and wherefore of our plethora of accessories ; for it will be remembered that when these pictures came into vogue, it was not unusual to see a whole drawing-room full of furni ture supporting the sitter. On the Continent, on the other hand, although the cabinet portrait, or carte album, rapidly grew in favour, there was never that tendency towards drawing-room portraits ; but the larger size was used to give effect to larger busts and larger heads, for which, it will be remembered, Fritz Luckardt, among others, soon became famous. We are far from advocating the abolition of balconies and balustrades, pedestals and pillars, in portraiture ; occasionally these add much to a lady’s portrait in walking dress, or to a group of children in out-door costume. But to be unobjectionable, such accessories must be used very sparingly, and, when used, lighted in subdued fashion. The fact that most photographers have these in their studio, and yet so very rarely use them, is a pretty good proof that such accessories are most difficult to introduce to be unobtrusive. They are apt to look too fine, and thus promote ridicule instead of admiration. It is true, a considerable amount of ingenuity has of late been expended in the design and production of these structures, care being taken to impart the aspect of age and weather to their appearance ; still, it is nevertheless a fact that few of us are given to living in Haddon-Hall like edifices, or to sauntering among classic ruins in which some marvellously preserved Corinthian column is the most striking object. Almost as objectionable in its way as a prominent marble pillar on massive stone balcony, is the "prie-dieu" chair that forms the piece de resistance in many studios. In ordinary life one never sees this quaint bit of furniture, except in oratory or chapel, and then it never has the soft fur rug or bit of Eastern tapestry half covering the chair, as many photographs show it to us. The “prie-dieu” may be, and is, indeed, a most elegant piece of furniture, and besides being bizarre and attractive, lends itself admir ably as a posing-chair. But that is no reason for its uni versal adoption. Surely there are chairs to be had, in these days of luxury and convenience, quite as suitable for the photographic studio, which would not appear so “ im possible ” in the finished picture. When a photographer has made up his mind as to the most steady and applicable of seats, there should be no difficulty about getting the same made by an upholsterer, who would employ fabric of any desired tint or texture in its construction. Mouse colour was, and is, considered by many, the only tint of velvet or cloth suitable for photography ; but any one who has seen, as we have, upholstery of almost every tint and shade in use in the studio, would not be tenacious in hold ing to this colour, well adapted as it doubtless is to photo graphy. Adam-Salomon certainly did not make use of velvet or silk of this nature, but employed fabric giving a much darker and richer tone, while we remember, also, seeing in his studio some carved cabinets, almost black, which served him as accessories for his portrait. The dark rich tones with which he surrounded his sitter were secured by means of this kind, and in one of the last portraits be attempted, that of a gentleman playing a violincello, the heavy shadows of the instrument afforded pleasing contrast to the sitter’s face and features. That British photographers do not believe so much as formerly in accessories, is evident from the fact that while they possess such things in goodly number, they but rarely make use of them now-a-days. In fact, one might almost say that the higher the status of the photographer, the less recourse he has to these aids. The maid-servant is delighted, no doubt, to see herself in an elegant arm-chair, with twisted arms and carved legs, finer and brighter than any in the drawing-room at home : and ’Arry is not less satisfied, when his picture is sent home to him, to find himself sitting on a magnificent stone balcony, and dang ling his bluchers against marble pillars. Accessories, in such cases, perform their part, and perform it well, for they satisfy the sitter, and very possibly bring more grist to the mill. But what suits one set of clients does not suit another, and so we say that, with the photographer who wants to produce something more than pot-boilers, the choice of furniture is a matter of grave consideration. Where furniture is required—and it is necessary in almost every in-door portrait not a vignette—artistic experience, no less than taste and tact, must be exercised. In most first-class studios, the furniture in the pictures appears handsome and substantial, because it is handsome and substantial in the studio. In Mr. Jabez Hughes' establishment, for instance, at Regina House, Ryde, there is nothing but real and substantial furniture. During a visit paid to the studio, we saw, indeed, not a single instance of the sham accessory. Every item of furniture was real; tables and chairs were of solid oak, and so, too, were couch and settee, the latter, moreover, being elaborately carved. The only thing about them that struck the non-photo- grapher was the dusty nature of the covering, which was of mouse-coloured velvet. The same thing was to be seen at Mr. Bassano’s studio in Old Bond Street ; everything here of the nature of an accessory was what it seemed to be. The tables, chairs, bookcases—even the piano—were actual pieces of furniture that would have suited the drawing room just as well, and the same could be said of the carpet, which was of genuine Persian. In other similar establishments in Great Britain it was the same; and in such studios as Benque of Paris, Angerer of Vienna, Prmm of Berlin, &c., &c., furniture of a like nature was to be met with. And what holds good in furniture is also true in respect to the other accessories of the studio. Real plants and grasses are almost always more satisfactory than the make belief. We were greatly struck, we remember, on one occasion, in visiting the studio of Messrs. Hills and Saunders at Porchester Terrace, by the manner in which the rustic backgrounds at that establishment were managed, The identification of a photographer by means of his background is very often made, but it was the pride of the Porchester Terrace studio that no two portraits were ever taken with the same background. By the simple re arrangement of a few ferns, grasses, and rustic frame-work, some hay, dead palm-leaves, and a dozen or two of growing shrubs, it was possible, with a little taste and skill, to vary the surroundings of sitters most completely. Rocks and rockwork are unfortunately a little too unwieldy to he genuine, and therefore in this case the sham article must necessarily be used a great deal. But here conventionalitf may be avoided by having rockwork in several pieces that may be built up differently. In Van Bosch’s Paris studio we noticed a most ingenious structure of this kind, that consisted of but two portions; these could be put together in various ways, and care was exercised to allow a cavity between the two, out of which growing shrubs could be made to peep forth, the garden pots of the latter being deftly concealed by the rockwork. It was these living grasses and shrubs that gave the air of reality to the rocks, and made the illusion complete. A real boat—half a one will do—with a tangled rope or net, always makes a far better picture than painted canvas can possibly do. In the first place, if the latter is not most accurately rendered, the perspective is wrong, and th result is that in the photograph it looks but the scenery it is ; in the next place, by altering the angle or position nt the boat, it is possible to make it appear in a dozen diferene ways, all of them unlike, so that the accessory cannot readily recognized. In a word, the conventional is avoi > and to do this is to go a good way towards succes photographic portraiture.
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