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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. 203, Juny 25, 1862
- Digitalisat
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Zeitschrift
The photographic news
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- Register Index 619
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Band 6.1862
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July 25,1862.] THE PHOTOGRAPHIC NEWS. 355 the photography and the art are alike good. The contribu tions from the Amateur Photographic Association include many specimens of great excellence. Mr. Lynden Smyth exhibits several of his most artistic pictures. Mr. D. Campbell sends his fine picture, the “ Auld Brig o’ Doon,” and several others. Dr. Hemphill’s photographs of Irish antiquities attract attention, not only from the interest of the subjects, but the excellence of the photography. W. L Noverre's photographs of Indian subjects are full of interest. Mr. W. J. C. Moens sends a capital series of fine pictures taken at various places full of classic memories, dnring a yacht voyage up the Mediterranean. Roger Fenton sends many of his old favourites. Mr. Wardley contributes a number of his very excellent pictures by the oollodio-albumen process. Mr. R. Keene contributes a good nomber of very fine specimens. B. B. Turner sends some ™ his fine calotypes. Amongst other very meritorious con- lributors of landscapes we find the names of John Burton, * n< l Robert Pateson, T. Carr, W. Mayland, Baynham Jones, Ntoven and Co., Major Russell Manners Gordon, Major R. sordon, J, Cade, Stephen Thompson, Dr. Holden, J. We, S. Bourne, F. Frith, Lord Caithness, and some As we have before said, however, so many of the *lscape photographs have been exhibited before that they not call for lengthened notice here. Jbe Daily Telegraph has the following remarks on the "play of British photography :— The stairs that lead from the middle vestibule of the picture Furies to the photographic department are three score and ten. ed and dazed. With acres of glowing colour, the visitor to the p’re of Old Brompton will hesitate about ascending to that w8ht whore sun-pictures are displayed in their uniform sameness ddl"s, relieved hero and there by tinted specimens. Truth to m2 the photographs have proved the least attractive branch of Sshow; and the contributors of these productions must now "ssiye that they gained little by refusing to bo classed with ilbitors of machinery. Still, for those who take any interest tj” ’rt which is one of the poetical commonplaces of our day, £ hose history is quite a fairy tale of science, the ‘ sky- vber ’ in the south central tower of the Exhibition Building 3 Assuredly, have charms enough. Wo ask our readers to Bhpppany us thither in our notice to-day. The first thing to 488 them is the ominous fact, that many frames are being 1 WVed, leaving great blank gaps on the bare walls. Damp is iAnfortunate cause of this proceeding. Signs of warping, 89 mildew, are apparent on many of the photographs which iin. Another very striking peculiarity about some of these B-ve will not say of all, or half, or a quarter of the number ssited, but certainly of a large proportion—is their faded rance. Evidently there has been haste on the part of I® photographers; and if their pictures continue this 6! of indistinctness, they will, before the close of the Fition, be little else than strips of yellow paper. It is not a nnt indication of the quality of photographs, on the per- VBsDe of which wo depend for reminiscences in future years % 98 and faces which are present, and which are dear to us. ,, Practitioner should be able to assure his patrons that each "qt is sufficiently washed to stand exposure to light for any kM of time. That this precaution is efficacious, we may pictures taken of the 1851 Exhibition by Mr. Mayall. "tte of these works is established beyond dispute. We know r a'" Y were produced exactly eleven years since, and they and deep in tone as if they had been printed yes- Sin The fact speaks for itself, and must prove an additional " hisndation of Mr. Mayall to the confidence of the public. "Spetat/nrtraits we need only say that they are worthy his Hoythout any wish whatever to lessen the weight of this 'ednerendation, we must point out the absurdity of the Nfetredon, The pictures of the Exhibition of 1851, here Poise"to, are. very fine Daguerreotypes, worthy of all f ve ott their permanency and that of paper pictures WPhher 1 iIn8 in common, the causes of permanency in the ashin) Vng no analogy or relation to the amount or mode 'Oil 8emPloyed in the latter. The writer proceeds :— 158 who follow in the same beaten track of portrait photography deserve praise as great for the good focussing and tone.of their specimens. Messrs. John and Charles Watkins are specially to be commended; and Mr. H. N. King has a great variety of likenesses, which readily strike the beholder. In coloured photographs—a very nice and somewhat dangerous ground—-we see nothing to rival the pure, though rich and bril liant, miniatures of Messrs. Loch and Whitfield. Their table includes quite a little gallery of aristocratic beauty. Mr. A. Claudet, who takes a bold stand as a life-size delineator, has a portrait of a lady which might almost pass for an original paint ing from the walls of the Royal Academy; and his likeness of Sir Charles Wentworth Dilke, taken by the enlarged solar camera, is a most characteristic and vivid piece of portraiture. “ The branches into which the practice of photography has lately struck are fairly, though not abundantly, illustrated in this collection. The photo-galvanographic process, which is a species of engraving by the combined aid of photography and the electrotype, is exemplified by Mr. Paul Pretsch. The kindred method of phototyping in carbon, claimed as a French invention, is also shown in the fac-similes of old prints and title-pages exhibited by Mr. John Pouncy. Another system of reproduction by photographic agency, is that of Col. Sir Henry James, director of the Ordnance Survey, whose plan of photo zincography has the credit of saving the country many thou sands a year. For maps, engravings, and printed objects, this method is eminently efficient and serviceable. We must con clude our present remarks with a reference to the transparent albuminous pictures for the stereoscope, and other interesting productions shown by Messrs. Negretti and Zambra. In these stereoscopic’views, principally from Siam, Java, Sumatra, China, and Japan, the only specimens of albumen transparencies to cope with the works of M. Ferrier of Paris, are here afforded. There is in the stand of the above-named firm a work of high merit and interest. It is in the form of a printed volume, pub lished by Messrs. Smith and Elder, but chiefly noticeable as a wonder of photography. The book is a recollection of Egypt, Nubia, and Ethiopia, principally from the pen of Mr. Joseph Bonomi, the great Eastern traveller, with controversial notes by Mr. Sharpe, of Egyptian celebrity. It is illustrated with stereoscopic scenes ; and a folding instrument accompanies the work, to enable the reader, as he proceeds, to realise each description. " The London Stereoscopic Company, as may be supposed, is not behindhand in contributing to the display. Among their noteworthy objects are some American views, including an ex cellent photograph of the Virginia Falls, and several good ex amples of the instantaneous process. Messrs. Cundall and Downes have a show of unexceptionable specimens. They manifest quite a speciality for picture copying—another and a far more difficult operation than photographing a print in black and white. Mr. L. Caldesi reproduces cartoons and other works of art with wonderful skill, and also displays great capability in rendering all the fine qualities of highly-finished and deli cate miniatures. The albumen photographs from Palestine, by Messrs. Cramb Brothers, are praiseworthy for their clearness and precision ; but, as pictures, they are deficient in half-tones and nice gradations. That deservedly-famed artist, Mr. James Mudd, adheres principally to the collodio-albumen process, and wite a result which justifies his preference. Indeed, we are of opinion that this is the only known operation of photography by which justice can ever be done to scenes of external nature. Ordinary collodion photographs are best for portraiture, simply because they do not require so much time; but for landscapes, despite the almost perfect works of such experienced and ablo men as Mr. Bedford and Mr. Wilson, the true method of bring ing out every nuance, and of assimilating shadows with high lights, seems to involve the slower operations of collodio- albumen.” Photographers will smile to learn that the exquisite deli cacy, softness, atmosphere, half-tone, and gradation of Mr. Mudd’s pictures are due to his use of a dry process, and that in regard to such qualities wet collodion is inferior! “ We have mentioned Mr. Bedford, and it would be a difficult task to do him full justice, were this column free for a descrip tive account of his labours at the International Exhibition. We need scarcely say that they do not comprise the pictures taken by him in the Holy Land, while accompanying the Prince of Wales, inasmuch as the return of his Royal Highness and suite took place after the Exhibition had long been open.
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