Suche löschen...
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
- Strukturtyp
- Band
- Parlamentsperiode
- -
- Wahlperiode
- -
- Bandzählung
- No. 491, January 31, 1868
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
- -
-
Zeitschrift
The photographic news
-
Band
Band 12.1868
-
- Titelblatt Titelblatt I
- Kapitel Preface III
- Ausgabe Ausgabe 1
- Ausgabe Ausgabe 13
- Ausgabe Ausgabe 25
- Ausgabe Ausgabe 37
- Ausgabe Ausgabe 49
- Ausgabe Ausgabe 61
- Ausgabe Ausgabe 73
- Ausgabe Ausgabe 85
- Ausgabe Ausgabe 97
- Ausgabe Ausgabe 109
- Ausgabe Ausgabe 121
- Ausgabe Ausgabe 133
- Ausgabe Ausgabe 145
- Ausgabe Ausgabe 157
- Ausgabe Ausgabe 169
- Ausgabe Ausgabe 181
- Ausgabe Ausgabe 193
- Ausgabe Ausgabe 205
- Ausgabe Ausgabe 217
- Ausgabe Ausgabe 229
- Ausgabe Ausgabe 241
- Ausgabe Ausgabe 253
- Ausgabe Ausgabe 265
- Ausgabe Ausgabe 277
- Ausgabe Ausgabe 289
- Ausgabe Ausgabe 301
- Ausgabe Ausgabe 313
- Ausgabe Ausgabe 325
- Ausgabe Ausgabe 337
- Ausgabe Ausgabe 349
- Ausgabe Ausgabe 361
- Ausgabe Ausgabe 373
- Ausgabe Ausgabe 385
- Ausgabe Ausgabe 397
- Ausgabe Ausgabe 409
- Ausgabe Ausgabe 421
- Ausgabe Ausgabe 433
- Ausgabe Ausgabe 445
- Ausgabe Ausgabe 457
- Ausgabe Ausgabe 469
- Ausgabe Ausgabe 481
- Ausgabe Ausgabe 493
- Ausgabe Ausgabe 505
- Ausgabe Ausgabe 517
- Ausgabe Ausgabe 529
- Ausgabe Ausgabe 541
- Ausgabe Ausgabe 553
- Ausgabe Ausgabe 565
- Ausgabe Ausgabe 577
- Ausgabe Ausgabe 589
- Ausgabe Ausgabe 601
- Ausgabe Ausgabe 613
- Register The Index To Volume XII 619
-
Band
Band 12.1868
-
- Titel
- The photographic news
- Autor
- Links
- Downloads
- Einzelseite als Bild herunterladen (JPG)
-
Volltext Seite (XML)
JANUARY 31, 1868.] THE PHOTOGRAPHIC! NEWS. 53 will be to sot forth the laws which govern—as far as laws can be applied to a subject which depends in some measure on taste and feeling—the arrangement of a picture, so that it shall have the greatest amount of pictorial effect, and to illustrate by examples those broad principles without regard to which imitation, however minute or however faith ful, is not picturesque, and does not rise to the dignity of art. In promising, at the outset, to be as practical as possible, I know I am sacrificing some advantages to myself, and much ease of writing, besides the ecldt that often follows and rewards the inventor of grandly-sounding sentences, easy to write, but difficult to read, and still more difficult to understand. Those who represent art as a kind of mystery, an inspiration, a gift of the gods to special favorites, often receive the credence of the ignorant, as, in assuming the language of the oracle, they are supposed by the uninstructed to possess the inspiration, and hence, until the imposture is discovered, they receive more attention than he who endeavours to show that there is a pathway open in the direction of the temple of art which all may tread, even if all do not reach the inner sanctuary. Notwithstanding all this, my object will be to write as clearly and definitely as possible, that I may be understood by, and be of use to, all who honour me with their attention. Many works have been written on the Art of Composition. A series of articles on the subject, of especial merit, by Mr. Lake Price, who is well known as a painter and photo grapher, appeared in the early volumes of the PuoroaRapmIC News, but no work has hitherto been published that suf ficiently applied—or, indeed, attempted to apply—especially to photography. In this series of papers I shall have not a word to say on the poetry of art; that is a question on which it is difficult to write so as to be really understood, except by those who have had a long education in art. I shall confine my self to what may be called the construction of a picture: in fact, I propose to deal with the body, or perhaps the skeleton, and not the soul; with the tangible, not the in tangible ; with that which can be taught, not that which must be felt. Neither shall I attempt to go into the mysteries of the science of composition, which only can be of use to painters who have command over every line that appears in their works. Photographers, although a wide scope for artistic effect is open to them, have not the facilities which other artists possess of making material alterations in landscapes and views embracing wide expanses, neither have they so much power of improvement in figure subjects, although much may be done by skill and judgment in that way ; but they have open to them the possibility of modify ing, and, being free agents, they have the power of refusing to delineate, subjects which by no efforts of theirs will ever make effective pictures. It is a too common occurrence with photographers to overlook the inadaptability of a scene to artistic treatment, merely because they think it lends itself to the facility which their art possesses of rendering minuti and unimportant detail perfectly. To many this render ing of detail and the obtaining of sharp pictures is all that is considered necessary to constitute perfection; and the raason for this is, that they have no knowledge of, and there fore can take no interest in, the representation of nature as it would be presented to the eye by a well-trained painter. It must be confessed, and distinctly understood, that photography has its limits. Whilst it will be necessary to explain the laws of composition in their entirety, the appli cability of these laws in photography is limited by the comparatively scant plasticity of the photographer’s tools—light as it can be employed by lenses and chemicals. Therefore, as I proceed with the rules of composition as far as they have been reduced to a system, or rather a quasi system, it will be my aim to endeavour to indicate what can be done by photography, and how ; assuming throughout, however, that the student is familiar with photography and the capability of the appliances at his disposal. In doing this, I shall bear in mind the Italian proverb, “ He is a fool who does not profit by the experience of others,” and shall not hesitate to avail myself of hints from every author I have met with who contains ideas worth placing before my reader, illustrating my remarks with engravings from the works of well-known painters, with occasional sketches of photographs in which the principles defined by the art of composition have aided the photographer in his choice of subject, in the arrangement of his sitter, or in his management of light and shade. Some might ask, Of what use would a knowledge of pic torial arrangement be to photographers who have, especially in landscape and architecture, to deal with subjects over which they have but little control ? To admit this would be to deny that the works of one photographer were better than another, which would be untrue. It must be admitted, by the most determined opponent of photography as a fine art, that the same object represented by different photographers will pro duce different results, and this invariably, not only because the one man uses different lenses and chemicals to the other, but because there is something different in each man’s mind, which, somehow, gets communicated to his fingers' ends, and thence to his pictures. This admitted, it easily follows that original interpretation of nature is possible to photographers —limited, I admit, but sufficient to stamp the impress of the author on certain works, so that they can be as easily selected and named by those familiar with photographs as paintings are ascribed to their various authors by those who have an intimate knowledge of pictures. To make this quite clear, I will dilate a little further on this subject, for it is of im portance, at the outset, to prove that superior results are produced by superior knowledge, not only of the use of the materials employed in photography, but by an acquaintance with art, or the whole purpose of the present treatise falls to the ground. Given a certain object to bo photographed by several different operators: no exact point of sight shall be indicated, but the stand-point shall be limited to a certain area. What will be the result ? Say there are ten prints: one will be so much superior to the other that you would fancy the producer had everything—wind, light, &c.—in his favour; while the others will appear to have suffered under many disadvantages. This picture will be found to have been taken by the one in the ten (and, I fear, that proportion is too large) who has been a student of art. By his choice of the point of view, by the placing of a figure, by the selec tion of the time of day, or by over-exposure or under-deve lopment, or by the reverse, producing soft, delicate, atmo spheric effects, or brilliant contrasts, as may be required, the photographer can so render his interpretation of the scene either a dry matter-of-fact map of the view, or a translation of the landscape so admirably suited to the sub ject, as seen under its best aspects, as to give evident indications of what is called feeling in art, and which almost rises into poetry ; the result often differing marvellously from the horrors perpetrated by means of our beautiful art in the hands of those who only know that if a piece of glass is prepared and treated in a certain manner, it will result in the production of an image of the object which has been projected on the screen of the camera by the lens. It is not only the cultivated and critical eye that demands good composition in works of art, but the ignorant and uneducated feel a pleasure—of which they do not know the cause—in a sense of fitness and symmetry, balance and support. BLISTERING OF ALBUMINIZED PAPER. Why do albuminized prints sometimes blister after fixing? —a question that has been often put to editors of photo graphic journals, but the reasons given have been, I think unsatisfactory. I propose to give you what I consider, from repeated ex periment and observation, to be the primary and true cause.
- Aktuelle Seite (TXT)
- METS Datei (XML)
- IIIF Manifest (JSON)