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The photographic news
- Bandzählung
- 12.1868
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- 1868
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- Bandzählung
- No. 532, November 13, 1868
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Zeitschrift
The photographic news
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Band 12.1868
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- Titelblatt Titelblatt I
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- Register The Index To Volume XII 619
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THE PHOTOGRAPHIC NEWS. Vos. XII. No. 532.—November 13,1868. CONTENTS. PAGE Exhibition of the Photographic Society 541 Simple Plan of Obtaining Plain Paper Prints 54; Our Printing Room. By Nelson K. Cherrill 542 Retouching the Negative. By Johannes Grasshof 544 Pictorial Effect in Photography. By II. P. Robinson 546 On the Employment of Mixed Collodions. By M. OmerBordeau 546 On the Sensitiveness of Photographic Preparations 547 Pioceedings of Societies—North London Photographic Associa tion—Edinburgh Photographic Society 548 Correspondence—A Photographer’s Relief Fund—Portraits on Approval—Albuminized Paper and Printers—Mr. Fry’s Mode of Masking—Photography and Perspective 548 Talk in the Studio 551 To Correspondents... 552 EXHIBITION OE THE PHOTOGRAPHIC SOCIETY. The success and satisfaction which have attended the second experiment in opening the winter session of the Photo graphic Society with an exhibition of pictures and a social reunion of the members and their friends justify us in re garding these as henceforth established institutions, and we find in the fact the solution of a difficulty which had before seemed as insuperable as it was deeply to be regretted. The advantage of exhibitions of photographs in aiding and stimulating progress was a thing universally admitted, and the interest of such exhibitions was everywhere recognized. But the cost, as they had been hitherto conducted, was simply ruinous to the Society. Modelled, as it was natural they should be, on the principles followed in exhibitions of pic tures generally, the cost was not less, whilst the income was of necessity incomparably smaller. The rent of a large gallery in a central position for a few months, with added cost of gas, attendance, printing, and advertising, amounted to a heavy sum, whilst the payments for admission from the public— members and their friends generally entering free—and the amount of commissions on sales, did not amount to the tenth of a tithe of the amount usually taken in an exhibition of paintings, in which the expenses were but little more, so that the annual loss to the Society became very serious, and it had become apparent for some years past that the exhibi tions, with all their advantages, must cease. The project conceived and so successfully carried out last year just met the difficulty, however, and an exhibition for a limited period, with simple and economical arrangements and much volunteer labour, was found not difficult to secure, when a few willing workers and influential members of the London Society took the matter in hand. The full educa tional and stimulating influence of an exhibition is secured, without taxing the resources of the Society unfairly and beyond the bounds of legitimate expenditure. The exhibition which opened on Tuesday evening was beyond precedent satisfactory and pleasant. On all hands it was pronounced to be one of the best, if not the best, of exhibitions ever opened, the contributions being full of excellence and full of interest. A very large attendance of members and their friends, many of whom had come from the country to attend, materially contributed to enhance the pleasure of a runion which every one present seemed to enjoy. One of the first facts which strike us on glancing round the exhibition is the illustration afforded by the large number of contributions, of the healthy vitality of the art, and the unflagging interest in its progress maintained by the majority of its devotees. Here is an exhibition, an nounced with little circumstance, to be kept open for a week only, offering no honours or awards, yet the most able, and the most skilful, and the most successful exponents of the art, professional and amateur, are sufficiently interested in witnessing and aiding progress to produce one of the finest collections of photographs ever brought together. Some few honoured names were, from various causes, not repre sented, but amongst the work of about a hundred contributors were found the pictures of most of the representative men associated with the art. The next fact which struck us, after examining the pictures exhibited, was the general excellence that prevailed. We remember that in many former exhibitions the mass of the contributions were of a very commonplace character, the examples of great merit standing out as brilliant exceptions. Here the bulk of the contributions are of very high standard indeed, and indicate a very great general advance, both in artistic and technical excellence. The progress in por traiture since last year is almost startling, and we may fairly state that we never saw so much good portraiture brought together before. As we had anticipated, the influence of the works of M. Adam-Salomon was abundantly manifested, not only in the large number of portraits in which his characteristic style was adopted, but in forms of portraiture, distinct in their characteristics from those of the great French artist. We may remark here, in passing, and without any egotism that we feel considerable satisfaction in this result, because we have been mainly instrumental in calling the attention of photographers to these pictures, and in affording them opportunity of becoming acquainted with them. Believing that they possessed not only a higher excellence than pre vailed in this country, but that they possessed some ele ments of excellence scarcely dreamed of as possibilities by English photographers, we felt assured that we were doing them service in pressing this subject upon their atten tion with a degree of iteration which risked being tiresome ; and we did this because we equally felt assured that English portraitists only required the standard bringing under their attention, and the spirit of emulation awakening, to induce a resolve to hold no second position in attainable excellence. We think the result, as illustrated in this exhi bition, has fully justified our convictions. It is not neces sary to enter into comparisons, or estimate how far English photographers have advanced in the race for excellence; certain it is that they have attained a position which few would have anticipated twelve months ago. It is impossible, in the brief time since the exhibition, to enter into a detailed notice of contributions so numerous and excellent, but we may briefly allude to a few names as an inducement to many to avail themselves of the remaining few days which the gallery remains open to pay it a visit. In landscape work we may mention a charming collection
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