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THE PHOTOGRAPHIC NEWS. [November 13, 1868. 546 PICTORIAL EFFECT IN PHOTOGRAPHY ; Being Lessons in Composition and CHLAROSCURO for Photographers. BY H. P. ROBINSON. Chapter XLI. Whilst Turner is usually suppoced to depend for his excel lence upon the rendering of the more subtle and chromatic effects of nature, a careful examination of his pictures will show how strict was his adherence to the recognised laws of c omposition and chiaroscuro. The Temeraire and Ulysses, p ictures essentially associated with the glowing effects of c olour given by the setting and rising sun, yet, when repro- duced in monochrome, will be seen to be singularly accurate illustrations of the most simple forms of artistic arrange ment. There is scarcely a picture or sketch by Turner but which will afford a lesson in composition to the student, as I have had frequently to point out. This is especially noticeable in his great book of lessons, the " Liber Studiorum.” In a former chapter an example from this magnificent work (the “ Stackyard ”) was given, and in Chapter 29 I gave a sketch showing the arrangement of light and shade only of one of the finest pictures in the collection, that known as “ Nor ham Castle.” This drawing is so fine, and affords such an admirable lesson in effect to the photographer, that I have thought it worth while giving a more accurate and detailed reproduction of it, reduced by Mr. Fruwirth from au ad mirable woodcut in the Illustrated News, together with the critical remarks appended to it in that journal, which forcibly indicate its chief points of excellence and interest:— “ In the 1 Stackyard ’ we see the painter’s power of imparting interest to the humblest incidents and homeliest occupations of rustic life by judicious choice of the point of view, skilful composition and distribution of light and shade, and sug gestive handling—the last noticeable especially in the masses of foliage. In the ‘ Norham Castle ’ we are reminded of Turner’s marvellous versatility. Although the cows drinking at evening, the boat, the skiff, and hut are as fami liar and commonplace as any of the elements of the first- named drawing, yet every one must feel that this is as different in its dominant sentiment of solemn serenity and impressive repose as it is in its leading subject of a vener able, brave, aud sturdy stronghold, preserving its dignity and grandeur, and even gaining in awfulness, in ruin and decay. This drawing illustrates, also, one of Turner’s most favourite expedients for securing powerful effect, with a real perspective, in which he has never been approached. We allude to the placing of a tree or building immediately before or near to the source of light. A painter thus secures not only the power of accenting the mass and contour of the object so relieved in the most powerful way, but he obtains the utmost limit of effect by the opposition of bis highest light and profoundest dark, and, by this mode of giving, so to speak, the extremities of bis gamut, he enables the eye to be sensible of and measure the tenderest tones and semitones in other parts of the picture. We trust the reader will ap preciate, by looking at our engraving, the variety afforded by this artistic principle to the gradations throughout, and the luminous and aerial quality imparted to the sky. Of the appropriateness of relieving against the setting sun that frowning ruin and that watchturret, which has seen the same sun sink beneath it for centuries, it would be idle to speak.” ON THE EMPLOYMENT OF MIXED COLLODIONS. BY M. OMER BORDEAU.* It is by no means of unfrequent occurrence that a photo grapher is sorely tried by the capricious behaviour of a collodion which to-day yields unsatisfactory results, while yesterday it was perfection, and may be so again to-morrow. * Bulletin Beige de la Photographie.
