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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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- 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
- Strukturtyp
- Ausgabe
- Parlamentsperiode
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- Wahlperiode
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Zeitschrift
The photographic news
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Band
Band 6.1862
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- Ausgabe Ausgabe 73
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- Register Index 619
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Band
Band 6.1862
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M [MAY 9,1862. THE PHOTOGRAPHIC NEWS. 226 Corxespondence. arises what injur Pe desir tsefu sourc Ch in io. ci. ca re tli 01 ai g ft it 20. Py di? die ha' wo tiv of remember that operation vividly enough, and some even of the new generation can call to mind what they have suffered as children in the artists’ quarter just named, They remember the dismal house with the curious window on the first-floor cut up so as to encroach on the second. They remember the dirty servant of all work who opened the door, and who ushered the victims into that dingy dining-room which was too suggestive of dentistry to be pleasant. As in the dental dining-room, so in this of the artist, there was a wonderful impossibility of identifying the apartment with eating and drinking. It would be impossible for anybody to enjoy either food or wine within its precincts. A few very old periodicals, a very fat and dirty volume of the Every-day Book of Hone, and some one or two books of amateur poetry, were on the central table, and as to works of art these abounded at the dentist’s as at the painter’s, but with this difference: at the first they would be engravings by different hands, and bearing affecting inscriptions in pencil, that made one’s grinders shake in their sockets. “ To Mr. Lipscrush, with the artist’s grateful remembrances,” or, “ from a grateful patient,”or, “in commemoration of many professional favours conferred on the artist.” In the Berners Street dining room the works of art were without such inscriptions. The pictures which hung round the artistic dining-room—and many of which had no frames—were ordinarily of elevated subjects: Titania with Bottom wearing the ass’s head, Ophelia hovering over the book, Ugolino gaunt with starvation, Virginius sacri ficing his daughter, and other exhilarating companions to the dinner table. There they hung, a perpetual monument to the want of taste of the British public, and there hung some of the portraits which the artist had been driven to paint, when he found that high art left his dining-table with nothing more eatable upon it, than an army list or a number of Blackwood. Among these latter works would be included “Portrait of the Artist,” painted evidently at the Ugolino period, glaring round at society out of hollow, sunken eyes. The artist’s father, his mother, and a general officer, who bore a strong resemblance to the artist himseif in a Nathanic red coat and epaulets. What wonder that one should go up from such a dining-room expecting to hear in a soothing voice the words “ Open, a little wider,” with an accompaniment of rattling instruments in a drawer? And what a place was the Studio itself when you reached it. That window observed from outside as encroaching on the second-floor was blocked up as to the lower half, so that there was no chance of seeing anything of the street unless it was the garret-window and the parapet of the house opposite, with an old flower-pot, a dangling fragment of clothes-line, and a row of hideous distorted chimneys, showing their gnarled and twisted arms against the dull grey sky. To spend an afternoon looking at such a prospect was not hilarious. Nor was the interior of the room much better. The half-finished pictures leaning against the wall, the studies from nature or copies of the old masters—old enough to have grown up into misters one would think by this time—the plaster casts of nude arms doubling themselves up so as to bring out the muscles in a very unnecessary manner, for nobody ever said they were not muscu lar, the antique heads, with noses on which the blacks and dust had gathered loweringly ; their hollow parts and sunken lines protected by the nobbier portions, relieving with a white and brilliant glare the bits of old tapestry, frouzy costume, and im probable armour—all these matters made up an interior which if it was picturesque (which it wasn’t) was infinitely dismal and disheartening. You were seated on a throne, too, which to persons not of the regal class was in itself disconcerting. Some question of perspective, or points of view, rendered it needful that you should be raised on high, and so you were perched up on a green-baize throne. You sat on a cut-velvet old-fashioned chair, whose timbers creaked responsive every time you sighed, and more old-fashioned chairs were placed about the room, which might have reminded one of ancient times, if they had not been so much more suggestive of Auction Marts and nosey brokers. What an afternoon’s entertainment! If the artist talked, , you felt he was not minding his business ; if he worked, he was apt to bo silent; while, if he tried to connect labour and con versation, his talk would be characterized by the Remark un connected and the Reply inappropriate, and the afternoon’s labour would very likely result in that disastrous phenomenon, an unrecognizable likeness. Now what is the photographic ordeal after this? Nothing. Absolutely nothing. i But, just as the sufferings which we are called on to unde? | have in this age been reduced, so also, alas ! have the powd of endurance, and so the same human being, who once here* journey of three days and nights by coach, grumbles at a w hour’s whirl by railway ; and he who has known the horrors 1 a month or so of sittings, finds that to wait an hour or sol a photographer’s gallery, going right through all the portn” on the wall and table, exhausts his patience. When at last’ is released from the waiting-saloon and mounts to the operatif room above, that he is in the worst possible cue for the P formance in which he is to take a part. He feels at 00 dazzled and oppressed by that glare of light above his he- It makes him blink, it closes up his eyes, it gives him a set s of having been up all night. The properties about the 10 too, are bewildering. There are all sorts of things approp# to all the different professions which different sitters may'? expected to follow. There is a piece of complicated vhe work for a mechanician, a pair of globes for a geographet! I nautical compass for the mariner, and a pair of compasses N the civil engineer. There, too, is a palette and an easel the artist, a book for the divine, an empty brief for the lawy‘ an hour-glass for the philospher, and an inkstand and a P with a tremendous feather in it for the author. Lastly, th is a wretched painted scene which is intended to take 0 public in as a landscape-background, but the honest iust ment will never fall into the scheme, and hating the landscat always proclaims it for the sham which it is. The backgrot is intended for private and non-professional persons, and the I is also a pillar and a curtain—but who are those for ? What’ the profession of that unhappy and misguided wretch who ’ supposed to pass his life in a perpetual environment of pil and curtain ? There may have been persons so situated on0 but now we turn dur pillars into letter boxes, and the curta draperies into ladies’ cloaks rich in festoons of crimson. The thirty seconds which the light requires to take a lib 1 ness are so utterly exhausting, that if there were one mon necessary I believe no human being could go through with til thing. The horrible necessity of keeping motionless is40 incentive, of almost irresistible force, to violent actio 11 ; Terrific are the temptations of those thirty seconds. Youth’* that you must make a face, yell, spring up, and cut a frantt caper. You say to yourself: “ Suppose I were to sneeze,, 1 * choke ; suppose I were to burst out into a rude guffaw ? I must! Suppose I were to squint; I think I am squintin The brass knob on which I am told to fix my eyes is gettin muzzy; it is huge in size; it revolves; I can’t see it. Nf hands are tingling, swelling, bursting. All is dizzy before me- I I shall explode!" (To be continued.) [T the i liant foreg of ob plate posu: trace gene Dr. after imag He : W com the Oper Hon actic the; quo ever read S my rigl plat afte whi we film int tret as t or । he obi the me bat KEEPING DRY PLATES AFTER EXPOSURE. Dear Sir,—I have long had a suspicion that plates P pared by the tannin process, and its modifications, thoug, the keeping qualities before exposure seem almost unlimited should be developed in a moderate time after exposure, 111 order to secure the best results. My experience has shown me that plates kept only a fe" days after exposure have lost much of their strength and vigour, coming out slowly as grey and weak negative'' This suggested to me the necessity of making an expen ment to decide the question beyond a doubt, and I carric" it out in the following manner:— I prepared a tannin plate with a collodion containing bromide ; in fact, an old mixture I am now working 10 this process ; exposed to a good light in a bi-lens camera cut the plate in half, developed one half the same day, ano kept the other before developing for 15 days. The difference between the two halves is, as you will s» from the print enclosed, so great that one might be SE. posed to have been taken at mid-day, the other at m 1 night. (oon As I have seen assertions that tannin plates have W developed weeks after exposure, an interesting questt
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