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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. 491, January 31, 1868
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
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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 31, 1868.] THE PHOTOGRAPHIC NEWS. 51 of a rich, good colour, very full of gradation, and possessing plenty of deposit in all the lights and half lights. Although they possessed something of the positive character when examined hy reflected light, they were not meagre or thin negatives, but were full-bodied and rich ; alike without hardness or the unnecessary deposit 'which increases the time of printing without adding to the vigour of the print. Some gentlemen followed, and the operations proceeded in a similar manner. M. Salomon, in many instances, seated himself to indicate the position to be assumed. In rarely any instance was the sitter moved after being once placed, especial care being taken to avoid worrying or dis turbing the equanimity of the sitter. The accessories, the camera, and the arrangement of light are all modified to suit the position once assumed. If, when the sitter has rested his arm upon the table, it is found to be too high or too low for comfort, the height is adjusted at once by means of the Archimedean screw without disturbing the sitter. In one or two cases, where a dark red beard had to be dealt with, it received a judicious touch from the puff and powder, to secure detail. The time of sitting of each of the gentlemen on the same nrornirrg was about twenty-five seconds. Comparatively little modification of the light appears to be necessary in ordinary work. The expanse of stippled glass in the skylight gives a soft general illumina tion, and prevents the existence of any black shadows with out detail. The clear side-light then gives a pronounced character to the principal lights. Where great vigour and contrast are required, the blinds arc drawn so as to contract the space of clear light; and where a softer and more quietly harmonious effect was desired, the lateral expanse of side light was increased by withdrawing the blinds. In dealing with gentlemen, as with ladies, the sculptor was apparent in the operation. Each fold in a coat was carefully considered and arranged so as to receive a definite light, and cast a shadow. The idea of the sculptor manipu lating his modelling clay was again manifest. So far as the brief space of time which a photographer possesses with his client permits, M. Salomon aims at producing what strikes him—and his perception is keen and rapid—of the charac teristic traits of his sitters. On the young English girl he aimed at simplicity of effect; in the matron he sought more of graceful dignity. In a journalist, whose portrait was taken whilst we were present, he aimed at more severe dignity of style. A cloak of port wine-coloured velvet was thrown over one shoulder, and the column was, for the only time during our visit, brought into requisition, and prevalence of vertical lines, with a tendency to squareness instead of curves, prevailed in the composition. As we have before said, and as is shown in the diagram in our last, the camera is always in the corner next the side light, whilst the sitter is nearer the middle of the room. It is to be observed, however, that although the background is placed so as to partially front the side light, the sitter never faces it, but is invariably quartered in greater or less degree from it, the soft top light preventing, as we have said, black opaque shadows on the retiring side, which is turned from the dominant light. Although deeply interested in his work, and sparing no pains in making an effective picture and characteristic like ness, scarcely ever using the same accessories on two pictures in succession, M. Salomon is rapid in obtaining results, chiefly because no time is wasted. There is no changing of position, and every touch in arrangement tells ; and whilst there is no stern adjuration to keep still, but a cheery and humoursome series of remarks, continued often during the exposure, there are few cases of movement. During little more than three hours of one morning, when we were pre sent, not less than eighteen large plates were exposed, and a negative technically good in each instance obtained. Our visit on this occasion has extended quite long enough, and we have minutely detailed operations ; not because in much t hat we have described there is anything strictly new, but because we know that so many readers are anxious to know every point in the operations by which such magnifi cent results are produced. We must, however, defer a few further particulars of interest until our next. SERIOUS FIRE AT MR. CLAUDET’S STUDIO IN REGENT STREET. A sad illustration of the gregarious character of troubles has just occurred in the disastrous fire at Mr. H. Claudet’s studio on the evening of Thursday, the 23rd instant, j ust one month after the sudden death of Mr. Claudet, senior. The fire was discovered between nine and ten at night, within three hours after the premises had been closed and left by some of the assistants; and although it was speedily got under, it was not until enormous and irreparable damage had been effected. We visited the ruins a day or two ago, and have rarely seen a more distressing spectacle. The reception room was one of the most elegantly decorated and appointed rooms in London, and cost the elder Mr. Claudet years of thought and effort, besides a very large amount of expense. The paint ings in the panels, of allegorical and emblematical subjects in keeping with the place, designed and painted under Mr. Claudet’s instructions, by a clever French artist, cost up wards of four hundred pounds, and the decorative fittings of the place nearly three hundred more. These are now simply blackened and blistered canvas and ashes. A couple of magnificent table stereo stands, magnificently carved by Harry Rogers, which cost two hundred and fifty pounds apiece, are now simply a few pieces of charred wood ; and scattered near, a number of Daguerreotype plates on the surfaces of which, here and there, a portion of a ghostly face is seen amid the half melted metal, the sole remains of some exceedingly choice and carefully coloured stereoscopic portraits of beautiful women. The walls and stands and glass cases were crowded with very elaborately finished speci mens in water colours and oil, many of the latter enlarge ments : the whole of these are utterly destroyed. And, saddest of all in this part of the destruction, was every existing portrait of the late Mr. Claudet. Many of these had been taken at various periods of hie life, and finished with much care by the painter. They had all been gathered together from different parts of the establishment a few days before, and put aside in the specimen room with a view to division amongst the members of his family; and every one is con sumed. The whole of the reception room, in fact, and its contents, now form one scattered heap of ashes. Passing thence through the office into the late Mr. Claudet’s private room, both being on the same floor and behind the reception room, a still more melancholy loss is found. In this private room were collected the experimental results of Mr. Claudet’s scientific life. From the first days of the Daguerreotype process Mr. Claudet had been an earnest, active, and successful experimentalist, and he was, also, a systematic conserver of the results of his work. In this private room were collected the examples of the various experiments in the Daguerreotype process, from the earliest portrait of himself—stretched on his back, because the plate required upwards of a quarter of an hour’s exposure—down to the most recent illustrations of the value of accelerators. Here were Daguerreotype etchings; examples of the work of curious lenses; a large series of illustrations of the peculiarities of binocular vision, and the apparatus belonging thereto; illustrations of the various optical theories and mathematical contrivances which absorbed much of Mr. Claudet’s attention. All these are utterly and irretrievably destroyed. Here, in a desk, also, were a number of docu ments, notes, and memoranda of experiments, historical data, &c., in which we fear that our readers have sustained the loss of some interesting records; for they were docu ments which Mr. Henry Claudet had recently been collecting for us, as the material for a memoir of Mr. Claudet and his
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