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The photographic news
- Bandzählung
- 6.1862
- Erscheinungsdatum
- 1862
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- Englisch
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 196, June 6, 1862
- Digitalisat
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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 6.1862
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[JUNE 6, 1862. THE PHOTOGRAPHIC NEWS. 268 Paul Pretsch contributes largely of his specimens of pho- I tographic engraving, both from blocks in relief and intaglio: I Some of these are reproductions of drawings, some « I engravings, and some are photographed from nature; some I of the plates have been retouched by the engraver, and sone I are untouched. All possess many excellent qualities, W I we do not notice any especial progress during the last yer I or two. There is some ground for regret, that the descrir, I dicit. Some of I leaves nothing to be desired. The various specimens of Col. Sir Henry James are 8 I present perhaps the most interesting and perfect produced I by any adaptation of photography, to the ordinary methodi I of printing by means of ink and press. The process b jS I the merit of being perfect in its kind; all that it aims at c< I makes claim for, it accomplishes. Its object is to reproduo I by photographic agency a printing surface from anythin I delineated in lines or dots. The specimens sent in by Col I James show at once how extensive the range of applicatiol I is, and how perfect the results. Its value in the reproductio I of old, scarce, and valuable engravings, is shown by copi I of Hogarth’s “Canvassing for Voters;” “Antique Vases, I drawn by Piranesi; and some panels in the Vatican, painted 1 by Raffaello, and engraved by Volpato, in 1776. Its value i I the reproduction of maps on any scale is now familiar * I every one; the specimen here exhibited is a plan of Ediz I burgh Castle and its environs. No process ever before di I covered could in any degree rival this for the production 01 fac-similes of old documents, such as the Domesday Boob. I What other method of reproduction could yield anyth 1 "’ I possessing the interest and value which one of the th editions of Shakespeare so rendered would have, and whis the two specimen pages of an edition of 1623, here exhibit actually possess. The exact value as reproductions of so®' I of the specimens, is here exhibited by the display, side a I side, of the originals, of prints from collodion negatives, 4" I prints by the zincographic process; and increased interestn given to the contributions by the exhibition of difteza stages of the process, such as the transfer, the completa j zinc plate, &c. Here also are some specimens of the PrOS I which Col. .James has named photopapyrography, by I copies of documents, of which not more than two or ttone I are required, rendering the process of transferring 10 sthus I or zinc undesirable, can be produced in printing ink, /us I securing the most indisputable permanency. The may I operandi of photopapyrography is not described, but • I one familiar with photolithographic processes will rative I understand how the image obtained on paper, in S Fintev I and bichromate, may be used to obtain copies in Pr ink. Albumen on glass had been tried with some success. Archer turned his attention to the use of a film of collodion, and was experimenting on it previous to the opening of the Exhibition ; and Dr. Diamond, in company with him, took a portrait with some collodion given him by that gentleman, as early as September, 1850. A collodion portrait, taken by Mr. Archer, assisted by Messrs. Fry and Horne, early in May, 1851, and what is termed a positive picture,* was placed in Messrs. Horne and Thomthwaite’s case in the Exhibition, with their Daguer reotype and Talbottype apparatus. Towards the end of June in that year, Mr. Rippingham, by permission, placed in this case some prints from negative collodion plates, the collodion for the purpose having been given him by Mr. Archer. The description of the process was published by Archer, in March, 1851, when it appeared in The Chemist. In the Jury report no other notice is taken of these pictures than that ‘ Rippingham has exhibited several Talbotypes, being a series of untouched positives from collodion negatives on plate-glass.’ No medal was given—indeed no one could have then foreseen the influence which these experiments were to exercise on the Photographic Art—and the Jury may well be pardoned for passing them over. In a short time, however, the simplicity of the process and the beauty of the results caused its almost universal adop tion, though numerous improvements had, in the mean time, been made in the negative paper processes, more especially that known as the wax paper process, invented by Le Gray.” Commencing with the first number in the catalogue, we find a valuable application of photography, but possessing no pictorial interest, as it is simply an enlarged copy of a map by Mr. G. Downes. It is from several negatives, printed separately and joined : so far as we can see, is sharp all over and free from distortion or curvature of lines. A frame of genre studies, by Rej lander, come next: most of these, we have seen, and noticed before ; but we may again call atten tion to the wonderful truth and pathos of “ A Night in Lon don.” The subject is a half-clothed outcast boy, seated in “ looped and windowed raggedness ” on the step of a door way, his head stooped to his knees, and buried in the folded arms, which grasp the knees. The face is hid, but the pic ture is still eloquent with expression, and tells unerringly its sad tale: desolation and wretchedness are more forcibly told by the position and the hidden face than they would have been by the most woe-begone countenance. The ma nagement of light and shadow, and tone, all contribute admirably to the effect, and place unmistakeably the subject of the sketch amongst the class to which Victor Hugo is just devoting his great work, “ Les Miserables." The next pictures which attract our attention, less by their beauty than by our interest in the process, are some views exhibited by Cramb Brothers. These are views of Palestine, on dry albumen plates. The subjects have an interest of their own ; the pictures are clean and sharp, and in many respects are good as photography, with the excep tion of being generally somewhat under-exposed. Dollomore and Bullock exhibit a variety of landscape and architectural photographs, amongst which we may men tion a view of Christ Church, Oxford, as an exceedingly fine, harmonious, and atmospheric picture. No. 16, by Mr. J. Sands, is a view of St. Paul’s, from the Thames, of unusually large size, the plate being about 20 by 16. The negative is, we understand, by the collodio-albumen pro cess, and the result is, in our estimation, decidedly success ful, especially when the conditions of atmosphere usually surrounding St. Paul’s is remembered. Dr. Wright exhibits a frame of pictures as illustrations of what may be produced in his field box or tent, of which we shall have subsequently to speak. These pictures are ex ceedingly good, and indicate that no manipulatory difficul ties are experienced in working in the tent referred to. No. 24 is a frame of photographs executed by Mr. Herbert Watkins, of various sections of the brain of a chimpanzee, dissected by Mr. J. Marshall, F.R.S. These possess an espe cial interest, as affording the basis for comparative examina * Very few pictures of this character are shown in the present Exhibition, though the process is that by which the cheap portraits, so common now a- days, are taken. Some may be seen in frame No. 43. tion and estimate of the difference between man and th" I travesty of humanity. Cundall and Downes, amongst other excellent contribt I tions, send one possessing unusual interest—a copy of the I original manuscript of “ Gray’s Elegy.” Also, reproduction 1 I of some fine pen-and-ink sketches entitled, “ Waifs and I Strays,” by E. V. B. Ross and Thompson, of Edinbursh I have a good frame of portraits of children, in which tB I feeling reminds us considerably of Rejlander ; from under- I exposure in some, however, and heaviness of accessories'" others, there is a general sombre effect -which would have been better absent. tions attached are not always sufficiently exp] . the prints which are marked as from untouched plates, leate I us in doubt as to whether they are exhibited as photograph I from nature or from engravings of photographs. We maV I mention the print of the “Venus Callipyge," which, whils I marked untouched, has the appearance of possessing a" I acquatint ground or grain. It would have been desirabla I in relation to the specimens of a process so interesting, that I the descriptive particulars should be fuller. The specimeb, I which strikes us as best of those exhibited by Herr Pretsch. I is No. 162, a large sized copy of the “ Venus de Milo.” Te I picture is hung somewhat high, and is, therefore, beyond tM I reach of minute criticism, but seen from this distance i I
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