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The photographic news
- Bandzählung
- 6.1862
- Erscheinungsdatum
- 1862
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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. 197, June 13, 1862
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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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3,1861 THE PHOTOGRAPHIC NEWS Vol. VI. No. 197.—June 13, 1862. ‘iV gs- 1 pai* it prio"‘ xed rot, rodc rtue " cs IS hms make thef t, as too 2 making b25 bicarbona", itirelyret" s is caused , when tbA ottled used fadink, •ints not i made, or 5 e plated imersed le colc2 1es and “ terd and 2 youmea ome m5nsd 3^? mallas" hyvo.Mee ng will T* appear^ cKertb , generD k is as e pridins" • ‘all. N > do ja th. 0a2e d. Dof po1placyg4 satter ng gooa*5l k, onins," able picture in this department is the colossal group by Mr. A. Brothers, of Manchester. The size of the picture is 48 inches by 21 inches : it consists of between forty and fifty . figures, all, or nearly all, of which, if we remember rightly, were on separate negatives. The design and general , arrangement of grouping must, of course, have been con- • ceived beforehand. The grouping and composition are so ' skilfully managed that the art critic of the Atheneeum, when • noticing the picture, could not conceive that this was due . to the photographer, but attributed it to a happy fortuitous arrangement, remarking that: — “with the felicity that sometimes attends chromatic combinations in the kaleido scope, they are perfectly grouped in simple masses.” As regards the photographic merits of the picture, the nega tives have manifestly been for the most part excellent; there is perhaps a slight tint of yellow in the whites of the picture, but when it is remembered that it was produced by not less than forty-five different printings, and that the paper was fifteen days in hand before the printing was completed, the marvel will be that the colour of the whites is so good. It is, of course, touched, but with care and judgment. Mr. C. T. Newcombe exhibits some very large portraits taken direct, which arc very good ; but we must confess that we think that for portraiture of this size, enlargements, from small negatives, permit scope for better results. Mr. New combe also exhibits a frame of card portraits, in which the feeling and manipulation are alike good. Messrs. Maull and Polyblank exhibit some whole-plate pictures as well as card portraits, of which the former arc much the best; of the latter we cannot say much. They also exhibit some whole-plate pictures with the general characteristics, as regards proportion and accessory, of card portraits: the result is decidedly successful, and we think worth the attention of photographers generally. A frame of portraits is exhibited by M. J. de Mouxy. One of these is a photograph on ivory: it is very exquisitely coloured in water colours; from the purity of colour exhi bited by the ivory, of which, as the portrait is vignetted, a good deal is seen, it may be fairly assumed that the print ing—the chief difficulty on ivory—was successful. In the same frame is a vignetted print executed in a style which is worthy of attention : the general background, instead of being, as is customary in vignetted prints, white, is of a middle tint, into which the image is graduated. This, of course, gives greater force to the lights, and is pleasing in general effect. In this instance the result is, in our estimation, spoiled by very elaborate “ touching.” A frame of portraits, exhibited by Francisco Sargent has very considerable merit; a vignetted group in the centre is exceedingly good. Mr. Macandrew, of Regent Street, contributes a large number of portraits of public characters, chiefly large busts, the heads being from two to three inches long. Those who have seen the large heads of Pierre Petit, in Paris, will be familiar with the fine effect attainable in photographs in this style. The majority of Mr. Macandrew’s are very excel lent indeed, vigorous, delicate, round, and well modelled; No. G7, a portrait of a lady, is especially fine. Mr. H. P. Robinson’s “ Lady of Shalott," “ Holiday in the Woods,” “Elaine,” &c., our readers are already familiar with. Mr. Noel Fitch’s portrait of a sleeping child is a de cided gem. Mr. A. H. Wall exhibits a frame in which the central vignette, and some vignetted card pictures are very pleasing. .sua) 1 i0 /X 509 or2,9 naz hen" time” cid529 acu c “ • g sS urdE web THE SOUTH LONDON PHOTOGRAPHIC EXHI BITION. Jr cannot help coming to the conclusion that the Crystal alace at Sydenham possesses, for a Photographic Exhibi- lion, many advantages over the building, which is nopalace, at South Kensington; and we fancy that those least dis posed to admit this some months ago, will now, in view of the absolute fact, be quite prepared to agree with us. We admit the occasional distraction of music and “frivolous Anusements ; ” but the music is not perpetual; and even the agile Blondin cannot risk his neck for more than an hour a day; whilst the minor claims on attention, such as listant music of the organ or pianos, the plashing of water tom fountains, the murmur of a happy multitude in the Bagnificent grounds, &c., add, we think, to the pleasure— Btherthan cause any distraction—of examining the photo- Eraphs. These, and the ready access to the department, the ample space afforded, the good array of pictures, and the excellent arrangement, will all contribute, we think, to ake the South London Society’s first Exhibition a success ful one. The first feature which strikes us is a very fine display of ^productions exhibited by Mr. Hering. These consist chiefly of what, perhaps, present the fewest photographic difficulties —reproductions of engravings. It is somewhat singular, how- ever, how very rarely this kind of work is well done ; if the copies are soft, they are dingy ; if brilliant, they are crude, hard masses of black and white, with the most delicate touiches of the graver entirely omitted. The specimens here exhibited are admirable examples of good judgment and manipulative skill, combining to give the best results; the softness and delicacy, as well as the vigour of the originals, bring well preserved. Another point appears to have received attention here, which is too often neglected: good copies of She engravings have been selected, as the basis of the repro- ction ; the difference between the photographic reproduc- tion from a proof impression of an engraving, and one from a sble, worn-out print or lithograph, is even more striking Bn in the originals, because, in the photograph of the , , in the attempt to get vigour, it is almost impossible "Avoid hardness. The majority of these reproductions are the works of the best masters, and few things are more lculated to cultivate the art taste of the young photo- Erapher than a careful examination of such pictures. Here Vuido’s “ Cenci," for instance; it is but a bust, but look the winning grace in the turn of the head; or, as an EAmple of dignity, in a standing position, take the figure E Christ in Signol’s “ Qui sine peccata,” &c., and mark, also, e value, in completing the composition, of the unobtrusive column in the background. We might multiply examples; "f we counsel photographers, who have the opportunity, to n ake a collection of photographic reproductions from the w t masters, and study them carefully as one of the best eans of art culture which they can adopt. there are some other interesting and valuable reproduc- 1ons besides those of Mr. Hering, of which we have just An speaking. Here are copies of the grand etchings of bert Durer, exhibited by Mr. Jeffrey, who also exhibits a rrP"oduction from Turner’s well-known “ Windsor Castle, tom Eton;” and a frame containing three views of le same head, right and left profile, and full face; the Doctisa bust of William Fairbairn, by Woolmer. Mr. Th . r exhibits some copies from Durer’s etchings. c 1 isplay of portraiture is very good. The most notice- ]
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