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
• 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: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Bemerkung: Seite 1-72 fehlen in der Vorlage. Vorlagebedingter Textverlust.
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

362. —- I termed roducin pp. 28 ase pages I full in- iodide of w ounces idyefes bure,will on gla88 a rough, mmetimes workins om some potouch- awashed, I of • exposed ble, how- best plan of iodine er. After i of pyro; 'distilled inue this ghtly nn- ich some i contact the dark nd dried, blotting rourcase, proceeds :er there, Chere are ich have rd-board, times to probably iame are, sir quali- de work, it French silver in e neatest nt. You box with e to drop , without ,11 means tai to the to avoid egatives eit with ydeer ipossibl le best’ d to 0 tobe» er gen ‘nishin metip stal va is more ive va” die solu- line, bu dsheet tretchel attached ue site, helatter V., PI y broad’ well out provised irers fot is much erating, ace the require cuiiy 10 you de: ' Dago 3 ose out id inci sarticle THE PHOTOGRAPHIC NEWS. Vol. VI. No. 205.—Atigzist 8, 1862. REVISION OF AWARDS IN CLASS XIV. We have pleasure in announcing that the revision of awards in Class XIV. of the International Exhibition, for which we have more than once expressed a hope, will absolutely be made. We are not at present in possession of the corrected list; but have reason to believe that the name of M. Joubert will be found in it, and we hope with a medal attached. Another revision, in reference to which we have received one or two letter's, will be the withdrawal from the list of honour able mentions of the name of Mr. Beatty, whose products, we believe, never arrived at the Exhibition, and in his place the name of Sir A. K. Macdonald will be inserted. We have pleasure in expressing the conviction that his pictures well merit such a distinction. It would be premature to enter into further detail at present, but we hope to be able to publish fall particulars in our next. OUR LIVERPOOL CONTEMPORARY ONCE MORE. As past experience might have led us to anticipate, our Liverpool Contemporary, more suo, returns to the charge, and, like one of old, “ breathing out threatenings.” lie now marshals all his forces for the assault—editor, publisher, and staff, down to the funny contributor, each making a separate attack. Even were we disposed to indulge our con temporary, who, like the traditional Irishman, seems to be “blue moulding for a bating,” by entering into the arena with him, we should find very little to answer. “ Tall talk,” in Ercles’ vein, and dreary facetia ; reckless assertion and mis-assertion, and equally reckless denial; much angry epithet; insinuations as to the feebleness of an antagonist he brings out his whole forces to attack; wilful misrepre sentation and sophistication—these are the weapons of his warfare. What good - end is to be gained, then, by any one in such a contest ? We may deny his mis-statements, and refute his calumnies, but that does not prevent his re-assert- ■ng them or framing fresh ones— « Destroy the web of sophistry in vain 1 The creature’s at his dirty work again.” We do not, therefore, care to answer him in detail, nor to Wane our pages further with a squabble which is, we believe, offensive to our readers, is distasteful to ourselves, and dis- graceful to scientific journalism. COPYRIGHT IN PHOTOGRAPHS. WE congratulate our readers on the fact that an Act securing to photographers a property in the production of their skill And enterprise, their brains, hands, and capital, has now become law. On another page we reprint the Act in extenso, and shall here only refer briefly to one or two of its salient Points. It will be seen from the Act that photographs are classed with paintings and drawings, neither of which, in Common with photography, it is declared in the preamble, have hitherto had the protection of any copyright law. the Act now passed includes all three in a common pro- tection. Many of our readers will be interested in this measure of justice to fine arts generally ; but it is with that part of it especially relating to photographs that we are more mediately concerned. A We could have wished that the general wording of the ct in several places had been less obscure ; but we arc glad 0 observe that especial attention has given to the distinc tion between a photograph, or print, and the negative from which it has been produced—a point of technical importance which might easily have been overlooked in the framing of such a law. The first section of the Act gives to the photo grapher the exclusive right to reproduce, or permit to be reproduced, his own works, not simply by photography, but by engraving, or “ by any means whatsoever and of any size.” It is then provided, however, that an artist selling his productions, or executing them to order, shall not retain a copyright therein, except by especial agreement in writing, signed by the vendee, or person for whom the commission is executed. This, at first glance, would appear to involve a photographer taking portraits of public characters, with a view to publication, in the necessity for making a definite agreement in writing with each person so taken, securing to the photographer the copyright in the portrait, which would otherwise belong solely to the person for whom such portrait was taken. It might seem only strictly just to the public, that anyone sitting for a portrait and paying the charge made, should secure a copyright in his own like ness. Just as this may seem, it would have involved the portraitist in a great deal of trouble, in rendering necessary an agreement in writing in all cases, before he could sell a single copy of his pictures to any one but the person originally ordering the portrait. So far as we understand the Act, however, this arrangement is not intended, and it is avoided by referring in the clause in question, to the negative and not to the print. A person commissioning the production of a negative would, we apprehend, unless a written agreement existed to the con trary, become the owner of the copyright in such negative; but in simply ordering a portrait, he unquestionably means a print from a negative, and the copyright in the negative, it seems to us, remains in the hands of the artist. The wording of the Act is a little obscure, but we apprehend that this is meant, and that it is, moreover, a reasonable and legitimate conclusion; nor do we see any reason to fear that when the photographer has an absolute property in the copyright of the negative, he is any more likely than he has been hitherto, to publish and sell copies of portraits against the wish of the sitters. The public is saved from any risk of suffering annoyance in this way, by the simple fact that it is never the interest of the photographer to affront his patrons by selling their portraits without per mission. The photographer is protected, by the possession of a copyright, in every negative he takes, unless the negative itself be ordered, and not simply prints from it, or unless he sells the negative without reserving any copy right in it. If it had been necessary to obtain an agreement in writing in order to secure a copyright in each negative taken, the issue would have been, that the trouble would have been generally neglected, and the mass of photographs would have still remained without any copyright. It is important to remember, that no copyright is secured under this Act, until registration shall be made in the proper manner at Stationers’ Hall. The provisions of a former Bill which rendered necessary a signature, or trade mark, or monogram, upon each picture, are not included in the present Act; the only step necessary is the registration prescribed. This, in the case of photographs, will be a simple transaction, inasmuch as a copy of the photograph, with the name of the artist, and date of production are all that will be necessary. In the case of valuable paintings a “ sketch, outline, or pho tograph ” is recommended, for entry in the register, as well as a description. The copyright to be acquired under