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The photographic news
- Bandzählung
- 12.1868
- Erscheinungsdatum
- 1868
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- Englisch
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- F 135
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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. 531, November 6, 1868
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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 12.1868
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534 THE PHOTOGRAPHIC NEWS. [November 6,1868. to get rid of dust, should be done immediately before collo- dionizing, not before edging. Since I first published the process I have had an excel lent opportunity of testing the keeping qualities of the plates. Some plates prepared and intended to have been used at once were left for near six months in the slides, and, in spite of the almost unexampled heat of July last, were found in September to be in good condition, and to have lost none of their sensitiveness. In fact, they could not be distinguished by their behaviour from plates prepared a few days before. The importance of this quality does not need to be dwelt upon. PICTORIAL EFFECT IN PHOTOGRAPHY ; Being Lessons in Composition and CitanosouRo FOR PaoToanAPEERS. by n. p. ROBINSON. Chapter XL. In some of the later chapters I have introduced complicated groups of figures with landscape backgrounds, which, to those who are unacquainted with the scope of our art, may appear impossible in photography. Indeed, some of those who do not hesitate to shrow in print how limited is their knowledge, have pointed out that a group on different planes could not be secured by the aid of lenses and chemi cals, and that it was impossible to pay proper attention to the individual constituents of a large group of figures. I may answer, that my object in introducing these groups from paintings has not been to offer to photographers examples for exact imitation, but that it may be shown how immutable laws exist in all good works of art, whether that art is exemplified in the lowest subjects or the highest; that the laws of balance, contrast, unity, repetition, repose, and harmony, are to be found in all good work, and that the arrangement of the general form of nearly all pictures is based on the diagonal line and the pyramid. I have thought it of more consequence to fix these facts on the mind.of the student than to set before him examples for imitation, however good, which he would have blindly to follow without understanding and without profit. But the scope of photography is wider than those who have only taken a portrait or a landscape suppose. There has not' been a single group introduced into these lessons that could not have been reproduced from life by the means our art places at our disposal. I do not mean to assert that a subject containingso many difficulties as Goodall’s “ Swing,” for instance, has ever been done in photography, but it is not so much the fault of the art as of the artists, that such a picture has not 1 been successfully attempted. It has not been the failing of the materials, unplastic as they are when compared with paint and pencils; it has been the absence of the requisite amount of skill in the photographer in the use of them, that will account for the dearth of great works in photography. To show that large groups are not only possible, but com paratively easy of execution when they are considered seriously and with a determination to succeed, I introduce, for illustration this week, one of my own pictures, taken some years ago, when photographers had much less facilities for producing good work than they have at the present time. The engraving is a reduction, by Mr. Fruwirth, of one which appeared originally in the Illustrated London News', but of a larger size,* and is the only one I have given * As any comment on the picture itself is manifestly inadmissible from Mr. Robinson s pen, it may probably interest the reader to know how such a picture was received seven or eight years ago by the art critics of the outside press. The Illustrated London News had the following remarks on the picture when it first appeared :— “ ‘ A HOLIDAY IN THE WOOD ’: Photograph from Nature. By Henry P. Robinson. " Photographers are every day making determined efforts to apply their art as a direct means of producing original pictorial compositions, showing the mind and will of the artist instead of the mere accidental condition of of my own works, one of which I should not have given aS an example at all had I been able conveniently to obtain a picture by any other photographer that illustrated my pro- positionso clearly. But photographers shun this kind of work more, I believe, because they think it less profitable than por traits, than from inability in some of them to do much better work than I here take for illustration. I also take this picture because the engraver has more nearly given the effect of the photograph than some others of mine that have been en graved. The original photograph is 22 by 17 inches in size, and was taken in seven negatives, and afterwards printed together by combination printing. This plan, besides other advantages—such as the obtain ing objects on different planes, and getting larger pictures than by any other method, with the exception of enlarge ment—enables the operator to devote all his attention to a single figure or sub-group at a time, so that if any part is imperfect from any cause, it can be substituted by another without the loss of the whole picture, as would be the case if taken at one operation, I shall leave the now advanced student to determine for himself the principles on which the composition is based, and to do, I hope, better things in the same direction. ON INTENSIFYING WEAK NEGATIVES. BY M. It. A. ECKERT, OF PRAGUE.* I develop my plate with the ordinary iron solution, and after it has been thoroughly washed, I proceed at once with the fixing. After this, the plate is again well washed, and placed in a porcelain dish containing sufficient clean rain or river water to cover the negative ; the water should, if possible, be filtered. Every negative taken during my day’s work, which lasts five hours, is treated in this manner, and facts already existing ; and, however we may doubt their ever attaining to the perfection they aspire to, so as to supersede the pencil or the graver, we must admit that some of the things they have lately done are of great merit, and strikingly effective in the result. Mr. II. P. Robinson is one of the most successful labourers in this field. Uis painfully real little group- picture entitled ‘ Fading Away,’ representing a young girl leaning back in an arm-chair, apparently in the last stages of decline, for a short season attracted groups of admirers round the windows of the photograph dealers. This year he produces a pleasanter and also a more extensive and elaborate subject, whicn is deservedly hung in the place of honour in the exhibi tion of the Photographic Society, and which he entitles « A Holiday in the Wood.’ We give an engraving of this picture, the subject of which is a party of rustic children amusing themselves in a thickly-shaded spot on the outskirts of a wood, on a bright day in summer. In the centre, seated on a banx, are three young girls, one of whom is weaving garlands of wild flowers, whilst a younger companion peers over her shoulder, watching the process with engrossing interest; the thi.d, a healthy specimen of rure country life, is carelessly lying on the ground, and laughing heartily at the bashful airs of a pretty little child in the foreground, around whose head another of the party is intently engaged twining a wreath of woodbine. Further back, and on the very top of the mound, is a girl with her back towards us, vigorously hailing some of her companions who are newly arriving at the wood. In the mid-distance, two other littl- girls are seen advancing through a woodland path, basket in hand, to join the holiday party. The whole scene is closed by a picturesque background of oak and other trees, which give a character to the situation in complete harmony with the sentiment of the little incident commemorated “ We must award high praise to Mr. Robinson for the judgment and eye for effect with which he has arranged his figures, and for the graceful com bination and plan of outline which is the result. The little sitters them selves, also, are to be commended for the attention which they have obviously paid to his instructions, and the efforts they make to appear as much at ease as possible. Complete self-obliviousness and spontaneity of action were, of course, not to be looked for; but as much has been done towards their realization in the present production as could be expected. " This interesting specimen of the photographic art measures twenty-two inches by seventeen.” The Daily News of January 14, 1881, had also a long and appreciative notice of this picture, from which we make ■* few brief extracts. After some remarks on the great “artistic knowledge ” displayed, and the power which the artistic qualities had to make the picture “ dwell on the memory,” it describes it as follows : " A number of children are playing in the recess of a wood, which is one inextricable tangle of wildly picturesque and luxuri ant vegetation. The three central figures seem bathed in sunshine, their flaxen hair flowing like a golden halo. Placed upon a turfy pedestal, they are arranged in attitudes of perfectly natural rustic grace, yet, withal, the group they form has a chaste elegance almost Greek and monumental. The other children are posed with almost equal felicity, and the harmonious grouping of such subjects is quite marvellous. We think, without excep tion, this is the choicest and most beautiful photograph we have ever seen.” Praise of this kind from an accomplished art critic is gratifying to all photographers who are proud of the triumphs of their art.—-Ed. Photo. News. * Photographische Correspondenz,
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