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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
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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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- 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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- Bandzählung
- No. 200, Juny 4, 1862
- Digitalisat
- SLUB Dresden
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- Parlamentsperiode
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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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1862. e publ m some artis in th I c photv thibitel ie fiap” contai xcelleal arrang int, th? mmonly here i* astaud etching, those « <1 roupd. etriciow tooco* ther, hi ts. N of sped i havi? have y nd the ■ate, an rt, bei»? ies. N icluding I lettess I s alway; I imensof me time liciently I vith the to canl ibutions xcellent I manyd we m? nd son’ 1 othes ich Ite* tuns. 6 . Hedf I iatel// ae s m li^ pleasin) mmeb >ut it * a such ’ ne Wl bool 0 furtht me to e stan bertbst nd that el a h»t hese are trons of i by the aphy i was in -official .me sort graphy: work is । photo; men of sustain July 4,1862.] THE PHOTOGRAPHIC NEWS. 317 a possible loss in the erection of this monument of the world’s progress, are a herd of the most vulgar, snobbish, and commonplace-looking personages, without one trace of the characteristics of English gentlemen. If the noble lords now considering the Bill for Artistic Copyright, who are impressed with the idea that all photographs are alike, and that it would be impossible to distinguish between the works of different artists, will glance at these frames, they will at least see what monstrosities can be perpetrated by the art when not in the hands of a skilled artist; but we fear a glance at such productions would be sufficient to exclude all chance of photography remaining in a Bill for the pro tection of fine art. Seriously, it is too bad that some dis crimination or control as to the quality of the work was not exercised in the first photographic contract; it is too bad that the Guarantors should be gibbetted in such vile guise in what is to some extent their own building ; but it is far worse that such pictures should occupy so much precious space, representing British photography. In larger portraits, pre-eminent now as ever, stand the productions of Mr. T. R. Williams, who exhibits only vignette heads, thus avoiding the necessity for accessories of any kind. This style is, in our estimation, by far the most pleasing and successful style of photographic portraiture, Specially for gentlemen : the interest is entirely concen trated on the most important part, the head. There are no awkward legs or arms to dispose into passable lines ; and bring within the defining powers of the lens. All this is favourable to success; but there is about the portraits of Hr. Williams a perfectness and completeness which we have rarely, if ever, seen in any other photographs, whether vignetted or otherwise. It becomes an interesting question, to what this especial pre-eminence is due. Some persons who have examined these pictures have answered it readily, “Oh, it is simply due to skilful ‘touching’! the pictures are elaborately worked up ; here is a whole eyebrow put in, and there the hair is worked upon, etc.” It were an easy thing to answer that we have never seen touched work that could compare in beauty with good untouched photography ; hut we can go further—and we do so because we always deprecate the idea that good work is due to any adventitious aid—we have before us at this moment unmounted dupli cates of the photographs in question, and can vouch that they are entirely genuine, pure untouched photography. To what then is this superiority due? “ How is it ” we are frequently asked by some anxious student, “ that I cannot Produce such pictures ? I have the best lenses, I use the best collodion, and have tried almost all the makers; I get the Very best chemicals, but my pictures are not good. Is it 'be lighting or the lenses, the chemicals or the formula, the Wposure or development, which makes the difference between productions and those of first class photographers?” these things unquestionably have their share in the Jesult, but perhaps none in any pre-eminent degree. Good buses, that is suitable lenses for the work, are undoubtedly necessary ; for large heads, lenses with sufficient depth of focus to define all parts moderately well, without that cutting sharpness which makes the head appear as if chiselled out of marble. Judicious lighting has perhaps more to do with perfection of results than any other one thing; sufficient direct light to give vigorous and well marked contours, and sufficient diffused or reflected light, to give texture and modelling. It is a very easy thing to obtain texture which degenerates into wiry rugosity ; but a careful selection of the lens, and management of the light is neces- sry to secure in large heads texture without coarseness. Good chemicals are necessary and easily obtained ; good formula we constantly publish. Judicious manipulation mlst depend upon nice appreciation and carefully garnered experience; exposure and development must be in proper Telation to each other, and to the condition of chemicals: parmhonious relation of every part to every other part is the peat secret: other things being equal skilful development 18 perhaps most important. But every step so depends upon the whole, that especial stress cannot be justly placed upon any single operation. We have digressed from criticism into questions of process, because we have often been asked lately, after describing various good pictures, to say something special about the method of producing them, and because Mr. Williams’ pictures are unsurpassed in all that constitutes good photography : wondrous delicacy; perfect roundness and modelling ; fleshy texture and trans parency, without magnified wrinkles and freckles; great vigour' and brilliancy; rich tone; exquisite definition, as well as good taste and fine feeling. Next, to our taste, in portraiture, are the productions of Mr. Hennah, of Brighton, whose pictures always make us wish that such a thing as albumenized paper had no existence. Mr. Hennah is one of the few, if he be not the only one, who has not been seduced by the charms of surface possessed by albumenized paper. He adheres to plain paper and the ammonia-nitrate printing process. His contributions to the Exhibition are magnificent specimens of the tones obtainable by that process, and many of them, as specimens of portraiture, leave nothing to be desired. Some whole plate portraits of children, one (420) especially, are perfect gems. John and Charles Watkins contribute largely to the examples of portraiture, and amongst the large number exhibited are many thoroughly excellent pictures, good in every respect; we regret, however, that there is some inequality, some of the pictures are considerably touched, and some yielding to the extreme test of the damp walls show signs of incipient decay, which circumstance makes the touching more apparent. We can conceive that some of these would not have been exhibited but for the interest attaching to the portraits, which comprise such names as Landseer, Millais, Faed, Hook, Webster, and others amongst painters; Dickens, Jerrold, and others, amongst men of letters, as well as many royal and noble personages. Mr. Herbert Watkins also exhibits some good portraits of celebrities, one frame of good photographs consisting only of various portraits of Ristori in different characters. Mr. D. 0. Hill contributes a large frame of pictures, which are subscribed as “Contributions towards the further develop ment of fine art in photography.” These pictures, partly because, we apprehend, of their stepping a little out of the conventional treatment of portraiture, and partly because of the somewhat ambitious description just quoted, have excited some animadversion. They are unquestionably pictures of unusual merit, and it should be remembered that the artist is a gentleman well qualified to aid the art progress of photo graphy, being a painter of considerable reputation, and Secretary to the Scottish Royal Academy of Painting. He is, moreover, a staunch and old friend of photography, having in conjunction with Mr. Adamson, many years ago, executed some of the finest calotype portraits ever produced. These pictures may offend some by being large and bold, and in some instances, tending slightly towards coarseness in their massive vigour, but there is, nevertheless, an amount of true art and good photography, which must challenge admiration. There is a daring use of unusual accessories, which is in some cases very effective. A large group of “ Dr. John Brown and his Cousin,” which obtained a silver medal at the last exhi bition of the Scotch Society, is a very fine photograph; massive, round, and well composed ; a portrait of Dr. Brown alone is also very good. “ Through the Trellis ” is a very pleasing group, consisting of three girls, one of whom is seen through a wire trellis and the creeping foliage which sur rounds it; the subject is a difficult one, but is well managed and effective. “Our Dear Old Nurse” is another very good picture. Some of the specimens, “ The Story of the Bruce,” for instance, would have been as well omitted from the frame; but, as a whole, we strongly commend the pictures to the attention of photographers. M. Claudet exhibits a large number of very excellent examples of portraiture which have many pleasing qualities. M. Joubert exhibits some exceedingly artistic portraits. Mr. Hering contributes some good pictures, some of which, un-
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