Suche löschen...
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
- Lizenz-/Rechtehinweis
- Public Domain Mark 1.0
- URN
- urn:nbn:de:bsz:14-db-id1780948042-186200003
- PURL
- http://digital.slub-dresden.de/id1780948042-18620000
- OAI
- oai:de:slub-dresden:db:id-1780948042-18620000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
- Bemerkung
- Seite 1-72 fehlen in der Vorlage. Vorlagebedingter Textverlust.
- Strukturtyp
- Band
- Parlamentsperiode
- -
- Wahlperiode
- -
- Bandzählung
- No. 201, Juny 11, 1862
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
- -
-
Zeitschrift
The photographic news
-
Band
Band 6.1862
-
- Ausgabe Ausgabe 73
- Ausgabe Ausgabe 85
- Ausgabe Ausgabe 97
- Ausgabe Ausgabe 109
- Ausgabe Ausgabe 121
- Ausgabe Ausgabe 133
- Ausgabe Ausgabe 145
- Ausgabe Ausgabe 157
- Ausgabe Ausgabe 169
- Ausgabe Ausgabe 181
- Ausgabe Ausgabe 193
- Ausgabe Ausgabe 205
- Ausgabe Ausgabe 217
- Ausgabe Ausgabe 229
- Ausgabe Ausgabe 241
- Ausgabe Ausgabe 253
- Ausgabe Ausgabe 265
- Ausgabe Ausgabe 277
- Ausgabe Ausgabe 289
- Ausgabe Ausgabe 301
- Ausgabe Ausgabe 313
- Ausgabe Ausgabe 325
- Ausgabe Ausgabe 337
- Ausgabe Ausgabe 349
- Ausgabe Ausgabe 361
- Ausgabe Ausgabe 373
- Ausgabe Ausgabe 385
- Ausgabe Ausgabe 397
- Ausgabe Ausgabe 409
- Ausgabe Ausgabe 421
- Ausgabe Ausgabe 433
- Ausgabe Ausgabe 445
- Ausgabe Ausgabe 457
- Ausgabe Ausgabe 469
- Ausgabe Ausgabe 481
- Ausgabe Ausgabe 493
- Ausgabe Ausgabe 505
- Ausgabe Ausgabe 517
- Ausgabe Ausgabe 529
- Ausgabe Ausgabe 541
- Ausgabe Ausgabe 553
- Ausgabe Ausgabe 565
- Ausgabe Ausgabe 577
- Ausgabe Ausgabe 589
- Ausgabe Ausgabe 601
- Ausgabe Ausgabe 613
- Register Index 619
-
Band
Band 6.1862
-
- Titel
- The photographic news
- Autor
- Links
- Downloads
- Einzelseite als Bild herunterladen (JPG)
-
Volltext Seite (XML)
862. id mes perature irs per- el being nsisting sodium, ff irm .’he soda a small ible and d in the • red bot lass, and he co®' ates out he other •oda, but e caust an easily i mortun to a de to play I rove a for neg; h it will .’he gre* 1 s acco®' NT. chibition ographi I m of the I id. The our bin* lmost nil ;o of the j 1, so th® f phot certainly colour® these a ringsN by whi all nef artit le cad shado basis N s furtl ; a guio, esence 4 ily ‘r appli ill phot’ luted b not p" are he wor" art, at splicatiol I we thip” i ic phot nembero" but tl? Some« excelled gham, 2 ible, yef laboured as "te ires, bob JULY 11,1862 J THE PHOTOGRAPHIC NEWS. enlargements and those taken direct, are exceedingly well painted. Whilst referring to the productions of M. Claudet, 1 ire may call attention to a couple of his pictures which we recently been added to the French department. These consist of two large groups, taken direct, one consisting of portraits of the secretaries of the English and French ‘hotographic Societies, Dr. Diamond and M. Laulerie ; and the other of five persons, the j urors of Class XIV, Photo graphy, Both these pictures are admirable, and are as fine Specimens of photographic portraiture as are to be found in the Exhibition. The photography leaves nothing to be desired; the composition is good; the tone is rich ; the images are round, soft, vigorous, and well defined. The likenesses are also admirable. Those in the group of two arc perfect in this respect, and full of character. We com aend visitors to see those pictures, both for the interest of the subjects, and the excellence of the photography. Mr. Kilburn, or rather his successor in his name, contri- butes some very good specimens coloured in oil, and some Mhich are styled “ demi-tinted" in water-colours, which are almost as bad as possible. Mr. T. K. Williams exhibits some of the finest oil-coloured Tpecimens in the department; true and natural in colour, they give both the hue and the texture of flesh; the colouring 8 indeed well worthy of the photographs, and that is say- "g a great deal. We must except, however, two specimens APparently coloured by another hand, the portraits of “ A lady and Child,” and of “ A Highlander ; ” these are cold 4nd crude, and certainly, to our taste, inferior to the rest of ■if. Williams’s contributions. A tinted enlarged portrait by Ir, Williams is hung too high for criticism, but it appears ‘ery good. Mr. Brothers of Manchester exhibits a coloured Photograph on ivory, which is very good, and a large folonred group, which, so far as we can see at the height at "hich it is hung, is also very good. Messrs. McLean and Telhuish exhibit a frame of coloured miniatures, which are Also hung too high for careful examination, but they appear Very perfect indeed, and have all the character of ivory. M. Fassano exhibits a large coloured group of officers which has ery little art, and is thoroughly unsatisfactory as a picture. Jlr, T. p r ice has some very good miniatures in oil. Mr. Jowers has one or two very good coloured enlargements. Messrs. Smyth and Blanchard have a coloured solar camera Mure, which is far inferior to their uncoloured work. Messrs. Gush and Ferguson, Mr. E. Sutton, and Messrs. Lock ind Whitfield have some very carefully coloured miniatures, ontwith the majority of which visitors to former exhibitions ire familiar; they have many beauties, but are marred by "me exaggerations in drawing. The latter firm exhibit a “ fine life-sized head of a child ; this is well painted, and J f ty charming picture. Mr. Mayall exhibits a few colour- BPecimens, some of which are good, but none of which I think are equal to his best plain untouched pictures. , e ’egret to observe a growing tendency in photographic t0l2nurists, of which this Exhibition furnishes many examples, o the production of mere prettinoss, to the entire sacrifice s all true art qualities; transparency, solidity, and the । er quietness of nature are sacrificed for the purpose of ‘fining a brilliant display of colour, and that smoothness V miscalled “ finish ” which is destructive of all texture, s°ur, or appearance of life. This arises, doubtless, in । 0 artists, from the habit of constantly painting according descriptive particulars,” instead of from life; inferior ‘sts will follow bad examples; and in addition to this, . 'mm-that too often the public desire and patronize this metty," but unnatural style of colouring. e . 18 colouring of photographic landscapes has from some mipsznever received much attention or favour. How far it Lit ' b done successfully by good artists, we cannot tell; wowe doubt if the result would ever be worth the pains it exhiLt-require, if done properly. Certain it is that most of thted attempts have been failures; of all the vile things thantKind? ho wever, we have never seen anything worse he “ Mews coloured in Tempera and Bistre,” exhibited । by Mr. Poulton, the photographs are spoiled without any thing approaching in the remotest degree to art having been obtained ; the result is coarse and gaudy, inferior to our taste to the commonest coloured engravings. We append one or two extracts from the criticisms of the daily press on photography. The opinions of the outside press are always more or less valuable as fairly representing the opinions of the general public. The article in the Daily News, which we give first is in the main thoroughly just, and appreciative. The incongruity of the classification is shown in a forcible light by the heading appended to the article being simply thus :— “ Machinery : Photography.” After this heading comes the criticisms on pictures, premised, however, by a few tren chant remarks on the classification :— “ It is very evident that at some period of their existence, the powers that be at South Kensington have been made the distorted victims of some incompetent photographer, for the incessant war that Her Majesty’s Commissioners have never ceased to wage against the votaries of the camera plainly indicates a grievous wrong done on one side, only to be wiped out by the most implacable revenge on the other. They commence by classifying photographs amongst ma chinery, because, forsooth, a camera is a philosophical in strument, a principle which, if carried out, would place lithographs in Class 1 amongst stones, and engineering in Class 31 with copper-plates. A very fierce opposition to this sapient decision was immediately raised, photographers from all parts of the kingdom uniting in protesting against the arrangement. But the opposition was useless, the only result being an enormous mass of official correspondence, all sound and fury signifying nothing. Having insulted the new art by a false classification, the next thing was to burke its display by hiding it from the public. It was accordingly placed in a lofty, though cheerful garret, called the Central Tower, far above the high struggling mark of even the soundest winded visitors. To further degrade it, the Commissioners mixed it up with toys. What, in the name of Cremer, photography has done to be placed side by side with baby jumpers, wax dolls, and other appliances for the improvement of the infantile mind, we do not undertake to determine—we only know that in our opinion the union seems to be at least incongruous. “ Had the search for this attic been ten times as long, and the stairs twenty times as many, we should have been fully repaid for our exertions by the splendid display of photo graphs of all kinds contributed under the depressing in fluence of an unjust classification. In spite of their first determination not to exhibit, the best houses have come forward with their best works, determined to show to the world that a photographer is not a mechanician, and that photography is something more than a manufacture. It is at all times a most difficult thing to criticise photographs. There are so many influences at work which may destroy at any moment the result of unceasing pains and educated skill, that the photographic critic is continually in danger of blaming the photographer for shortcomings utterly be yond human control. There is, too, great difficulty in viewing photographs from a medium point just between manipulatory excellence on one side, and natural beauty on the other. The photographs exhibited are, perhaps, the best collection ever brought together, numbering nearly one thousand frames, containing works by all the best photographers, very few of which are below mediocrity. They fall naturally into four divisions—portraits, land scapes, reproductions, and scientific photographs. “ We would warn our readers that the list of exhibitors con tained in the ordinary shilling catalogue is useless, and advise every one to procure the detailed catalogue published by Trounce, and sold in the room, the numbers given in it being made use of in the following remarks. “ Commencing at the south-west corner of the room, the first frame of portraits we come to is a collection of studies by an old public favourite, Mr. 0. G. Rej lander (2), which are
- Aktuelle Seite (TXT)
- METS Datei (XML)
- IIIF Manifest (JSON)