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The photographic news
- Bandzählung
- 12.1868
- Erscheinungsdatum
- 1868
- Sprache
- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- SLUB Dresden
- Lizenz-/Rechtehinweis
- Public Domain Mark 1.0
- URN
- urn:nbn:de:bsz:14-db-id1780948042-186800009
- PURL
- http://digital.slub-dresden.de/id1780948042-18680000
- OAI-Identifier
- oai:de:slub-dresden:db:id-1780948042-18680000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Parlamentsperiode
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- Wahlperiode
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- Bandzählung
- No. 487, January 3, 1868
- Digitalisat
- SLUB Dresden
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Zeitschrift
The photographic news
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Band
Band 12.1868
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- Titelblatt Titelblatt I
- Kapitel Preface III
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- Register The Index To Volume XII 619
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Band
Band 12.1868
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- Titel
- The photographic news
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JANUARY 3, 1868.] THE PHOTOGRAPHIC NEWS. 5 of lighting, a slanting cast shadow, from the entablature resting on the figures, playing an important pictorial part in slide. We might multiply examples of distinctive excellence, but our space forbids. We have said enough to point out the presence of fine artistic taste and definite design and understanding of the work which characterizes these pictures, and which we have pleasure in noting is a growing feature in photography, of a very hopeful character. SUNSET ON THE SEA. Photographed by H. Sampson, Southport. This is one of those rarely beautiful examples of nature’s pic torial effect which only instantaneous photography can render. The sun is hid by a grand mass of cloud, the edges of which are fringed with light. Immediately underneath, and in the track of light which the sun’s rays form on the dark face of the sea, is a small sailing-boat, the only object visible, except the sea and sky and sun-fringed cloud, all of which combine to form an exceedingly charming picture. The print is with much taste cut into a circular shape, mounted on india-tinting, and is altogether very effective. A VIEW OF NEW YORK, from Hoboken. Photographed by J. 0. BROWNH. This is a charming photograph with which wc have been fa voured by one of our American readers as an illustration of the working qualities of Zentmayer's lens of 5} inches focus, the picture being eight inches on the base-line, and the amount of angle included, therefore, upwards of 70°, the definition being satisfactory throughout. This is attained, however, by the use of a smaller stop than we think de sirable for any purpose where a satisfactory effect of relief and distance is to be obtained, the aperture here having been one-fiftieth of the focal length of the lens. The value of small thin lenses is, however, illustrated by the fact that, notwithstanding the smallness of the aperture, the expo sure in this instance was not more than forty-five seconds. As a picture and an example of photography this photo graph is most charming. Notwithstanding the unpromising effect of a subject consisting of a distant view of a city, with a river and the two parallel lines formed by its banks for the middle distance, these are so broken up by taking advantage of some shipping, and even by the aid of such unpicturesque objects as telegraph poles, that a very fine composition is secured, the well-placed figure of a girl in the foreground very materially aiding the effect. The pic ture is full of space and atmosphere, and is altogether charming. STEREOGRAPHS OF AMERICAN SCENERY. By Professor Towler, M.D. Our friend, Professor Towler, with whose name and writings all photographers are familiar, favours us with some pleasant transcripts of the beauties with which America abounds, these chiefly consist of rock and cascade scenery in the neighbourhood of Seneca Lake, the scenes all selected with an artist’s eye, and photographed by a master hand. Our. friend kindly invites us to spend a few weeks photographing with him in camp next summer at the Niagara Falls, and gives us his address as a tent on the College Grounds near the Rapids! How we should enjoy the trip, and the company, and the occupation, if the rendez vous were not just a few miles too far distant to permit us to discharge our duties on the News at the same time ! ECHOES OF THE MONTH. BY AN OLD PHOTOGRAPHER. Men that are gone—The Status of Photographers— India-rubber for Mounting — Simple Method of En largement—Societies. Another year’s requiem has been sung, a year of some depression and of many sad memories, the last of which is the loss to photography of an old knight and a true, Antoine Claudet. He was a middle-aged man when photo graphy was in its cradle, and has watched it grow into a giant spreading its arms over the civilized world, shedding the light of its countenance in every spot where human affections find a dwelling-place, in camp and cabin, palace and cottage. He had seen this growth, and gallantly aided it. Few men ever gave such a whole-hearted devotion to an art. He was ever studying the subtleties of its scientific phases; he was actively alive to anything affecting its artistic character, and one of the readiest and ablest of its champions when its art claims were brought into question. In the late diffusion of focus question we did not all agree with him as to the best means of securing a given end; but few could deny that he ably pointed out a very definite lack in the art character of most photographic portraits, and that by his earnestness and energy he secured an amount of attention for this phase of the subject which it sorely needed ; and in the discussions which arose on the subject he showed how it was possible to conduct a scientific controversy with firmness and decision, and maintain at the same time the perfect courtesy of a gentleman. Peace to his memory, which will live in the history of the art. Others, too, are gone, and the echoes still vibrate with the sad story. But enough ; it shall not be repeated here. A topic which has always interested the “ Old Photo grapher ” has been the subject of two papers, some corre spondence, and much talk during the month : How can the status of photography or photographers be raised ? it is asked. Perhaps a question might fairly follow, Is the status of the art or its adherents lower than it deserves to be ? What is the status of the art ? It is practised by every class in the kingdom: royal fingers are occasionally found en gaged in it; noble gentlemen and ladies are found amongst its amateurs; it is practised with zeal in what are termed the learned professions, the church, the bar, and medicine ; and in the army and navy it is a favourite accomplishment. No art, in fact, can boast a wider popularity by amateur practice amongst all classes of the community, the most noble as well as the most plebeian. The status of the art itself, then, cannot well be complained of. It is true its position as a fine art is not as thoroughly recognised as some of us could wish ; but that is not quite unnatural. In the first place, the art is young, and elder sisters are proverbially slow to admit to terms of equality the young chits of girls. Photography must undergo her period of probation, and make good her claims, before she can be unhesitatingly ad mitted into the sisterhood of the arts. The more guarded a circle, the more a position within it will be valued; and it must be admitted that much that has been perpetrated by photography has not been of a character to qualify her for a position in the sacred circle. Still, in the status of pho tography itself there is little to complain of. But it is the status of professsional photographers which is to be raised, and this, I must confess, is a far more diffi cult question. But again, I would ask, is the status of professional photographers lower than they merit? I shall be the last person to ask this question offensively. I shall be the first to commend any effort to raise their status and to increase their prosperity. But it is as well to be honest in dealing with such a question. Is the social position and recognition of photographers as a body lower than their education and character entitle them to occupy, or than they would have occupied if they had been engaged insomo other mode, possible to them, of making an income ? And, further, is the income derived from the professional practice of photography less than would have been made by the same per sons by other modes of making an income possible to them ? I do not attempt to dogmatize, but I think that both these questions must be answered unhesitatingly in the negative. Further, I think that, in many instances, photography has been the means whereby many have acquired much larger incomes, and have risen to a much higher status, than they would otherwise have secured. Doubtless they were the men
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