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The photographic news
- Bandzählung
- 6.1862
- Erscheinungsdatum
- 1862
- Sprache
- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- SLUB Dresden
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- Public Domain Mark 1.0
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- urn:nbn:de:bsz:14-db-id1780948042-186200003
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- http://digital.slub-dresden.de/id1780948042-18620000
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- oai:de:slub-dresden:db:id-1780948042-18620000
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- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Seite 1-72 fehlen in der Vorlage. Vorlagebedingter Textverlust.
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- Parlamentsperiode
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- Wahlperiode
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- Bandzählung
- No. 192, May 9, 1862
- Digitalisat
- SLUB Dresden
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- Ausgabe
- Parlamentsperiode
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- Wahlperiode
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Zeitschrift
The photographic news
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Band 6.1862
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- Register Index 619
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Band
Band 6.1862
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), 1862. md in p nsequent, aunt of e was al" . equivalet 1 imaget negative} the equist lat thek culated t narked t centre, I side. " ie ordima if thislr neyer W f his exr larging perimed) oof for b >le for th 1 could g he fow orth lig) n was p spressed * J of a cor results, • the imaf hus muci ise oft’ the neg’ uld net* 1 the col latio cot' cure, t I entire! confusi/ sion, 82 tures D ns went t defiu the lol; engag g, whie le. N IS OU til jo two 0f In th thoug" luce tbe Warn’” ograp)% •om N‘ ring a! he hod agreed ie same that of r in the id wit) nlarged s nmo May 9,1862.] THE PHOTOGRAPHIC NEWS. 225 Mr. FRx explained that they were exhibited by Mr. Swan, as illustrations of an improved stereoscope in which one small and one large picture was used. Mr. Heath wished to remind the meeting that all the speci mens he had brought where in their rough untouched state, and results of experiments in a bad season of the year. He thought it would be very interesting to have some statistics as to how many days of the year the solar camera could be used, the percentage of successes and failures it produced, and the expenses of working it. JI. CLAVDET asked if Mr. Heath had tried the solar camera ? Mr. Heath : No ; but I have seen your results. Mr. CLAUDET : I have tried both, and I think the solar camera best. After some further conversation, in which Mr. Heath stipu lated that the specimens for comparison at the next meeting should be untouched, the discussion terminated. The Chairman, in proposing a vote of thanks to Mr. Heath, said that the subject had elicited much interesting discussion, and he trusted that tho friendly challenge which had arisen out of it would prove conclusive and satisfactory. The thanks of the meeting were accorded by acclamation. A paper on subjects arising out of the discussion, by Mr. Claudet, was announced for the next meeting, and the pro ceedings terminated. THE CARTE DE VISITE.* [There is so much that is true, mixed with a few miscon ceptions, in the following article, that we have pleasure in presenting it as a contrast to some of the would-be clever articles which have recently appeared in journals devoted to Miscellaneous literature.—Ed.] There are probably few pairs of eyes turned towards this page which have not been directed before now to some nob, or mould ing, or keyhole, or door-handle in a photographic studio, and so have remained fixed in a delirious stare till the carte de visite was an accomplished fact. It is commonly a very heavy blow when one first sees the result of that operation which we have so many of us gone through. We explain ourselves in our dif ferent ways when we have the first interview with our own portraits after they come from the photographer’s. If we are of a demonstrative nature, and besides have not been bred at he Court of St. James’s, we exclaim “ Lor 1” when we first see ourselves. Some again will utter a mere unintelligible excla mation of surprise or grief; others will bless themselves ; and truculent and hot-livered persons will invoke upon the head of the artist that which is not a benediction. There remains yet a class of well-bred and undemonstrative individuals who con- tine themselves to a speechless examination of the newly- arrived cards, merely expressing their agony by an eloquent “lence, by twisting the work of art first this way and then llat, holding it now at a distance, and now near, and anon ^side-down. We get accustomed to the portrait after a time, are able to face it, to see it on our drawing-room table in a small frame, or in an album, or oven in the books of our dear friends and acquaintances. If we are public characters (and it is astonishing how many of us now find that we are so), we are actually obliged at last to get accustomed to the sight of ourselves in the shop-windows of this great metropolis. Our shepherd’s-plaid trousers, our favourite walking-stick, our meerschaum pipe, meet our gaze turn where we will. We do not all come out of the photographic studio alike un- happy. There are those to whom the process does justice, as well as those to whom it does injustice ; nay, there are some on whom it confers actual benefits, and who show to greater advan tage on tho carle de visite than in their own proper persons. I have myself sat on two occasions for one of these portraits. On the first I was simply occupied in keeping still and presenting a tolerably favourably view of my features and limbs to the fatal lens; but tho result was so tame and unimposing a picture I hat determined o n the next occasion to throw more intellect into the thing, and finding a richly gilded curtain-tassel con- xenient to my gaze, I gave it a look of such piercing scrutiny, ana 80 withered and blasted it with the energy of my regard, that 1 almost wonder it did not sink beneath the trial. That * From au Uu 1'ear UmikI. look has, I am happy to say, been reproduced faithfully, and no one could see the portrait without giving its original credit for immense penetration, great energy and strength of character, and a keen and piercing wit. It is difficult to lay down rules of general application, but it may be safely said that the people who come out of the photographic struggle the best, and who are least injured in the engagement, are people of ordinary appearance, from whom we do not expect much. It is common to hear some lady who is generally acknowledged to be pretty, urged by her friends to sit for a carte de visite. “ You really ought to have it done,” they say; “ you would make such a charming portrait.” The portrait is taken, and is, after all, not charming. On the contrary, it is sufficiently the reverse to make the dearest of the victim’s female friends happy. Those to whom this process does the greatest justice are people the proportion of whose faces are well balanced, whose features rather err on the side of smallness than largeness, and who are not generally considered to be beautiful. It is possible to have symmetrical features and a well-proportioned face, and yet to fail very far short of beauty ; and it is equally possible for a countenance to be wrong in some of its proportions, and yet leave an impression of beauty on our minds. But any one in this last case will be a great sufferer in going through the photographic process. As the two likenesses appear side by side in the album they will astonish all who look at them. They thought the one was such a much plainer person than she here appears, and the other so much prettier. There are many beauties of colour and expression which cannot be rendered by the agency of the camera. Colour of of hair, colour of the complexion generally, of the lips, the cheeks, the eyes, all these go for nothing; and as to expression, the most expressive countenances suffer most invariably: a little happy touch of expression is a phenomenon one hardly ever remembers to have seen caught in a photographic portrait. If the face be left to take its chance—so to speak—a heavy or mournful look is the usual result, and if any particular expres sion be attempted, it is almost sure to look like a grimace ; a truth of which we constantly see illustrations in the portraits of those engaged in the theatrical profession, when some special expression has been attempted. People of mediocre abilities, as people of mediocre beauty, will come off best in sitting for their photographs. They will astonish us by looking so clever, as the others by looking so pretty. Real genius and real beauty will often astonish us the other way. It is as difficult to give a man’s outside, with all we know of it in a portrait, as to produce a fair representation of his mind in a biography. There are, however, very many motives which all work in consonance to make us patronise this very thriving business of photography. First of all there is the appeal to our vanity. You yourself are the subject of your own especial consideration and that of one or two others for some considerable space of time. What a delightful thing that is. Whether you are good-looking or ugly you like that, depend on it. Then, the portrait done, you have the opportunity of distributing yourself among your friends, and letting them see you in your favourite attitude, and with your favourite expression. And then you get into those wonderful books which everybody possesses, and strangers see you there in good society, and ask who that very striking-looking person is? Those albums are fast taking the place and doing the work of the long cherished card-basket. That institution has bad a long swing of it. It was a good thing to leave on the table that your morning-caller while waiting in the drawing-room till you were presentable, might see what distinguished company you kept, and what very unexceptionable people were in the habit of coming to call on you. But the card-basket was not com parable to the album as an advertisement of your claims to gentility. The card of Mrs. Brown of Peckham would well to tho surface at times from the depths to which you had consigned it, and overlay that of your favourite countess or millionaire. Besides, you could not in so many words call attention to your card-basket as you can to the album. You place it in your friend’s hands, saying," This only contains my special favourites, mind,” and there is her ladyship staring them in the face the next moment. “ Who is this sweet person ?" says the visitor. “ Oh, that is dear Lady Puddicombe," you reply carelessly. Delicious moment! Yet, sitting for one’s photograph is, after all, not a pleasant performance to go through. Of course it is a mere nothing to what one used to endure in sitting for a regular portrait in a gloomy apartment in Newman or Berners Street. Many of us
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