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

October 31, 1862.] THE PHOTOGRAPHIC NEWS. 519 state that the room is built above the brick tower of the Crom- well-road entrance—a height very nearly equal to the roof of the nave itself. A worse place than this could not possibly be given to it. The glazed roof, for a long time left un screened, made the heat here during the summer quite un bearable. The heat peeled the pictures of their mounts, cracked and warped their frames, and the glare of the sun’s rays ruined the tints of some of the finest specimens exhibited. Add to this that the whole space given was inadequate to the requirements of the class and that more than half even of is the arrangement described by Mr. Heath at the Photo graphic Society some months ago, in his paper on enlarge ment. The multiplicity and excellence of the contributions, and especially of the various clever contrivances, would re quire much more space to do them full justice than we can spare; we must, therefore, content ourselves with a brief enumeration of some of them. A modified Kinnear bellows camera posseses a strong and simple mode of giving firm ness to the front, and the screws, &c., are packed so as to avoid loose pieces ; it is very convenient. A neat binocular stereoscopic camera with dark slides for eight dry plates, forms, when packed complete, a rectangular box measuring outside 11x9 inches, and weighs only 7} lbs. A compact camera especially adapted for stereoscopic, carte de visite, or single views, 71 X 4} inches. It extends for focussing, from 3 to 10 inches; a box front forming a sunshade for the lenses. It also possesses an instantaneous shutter. An in- Renious registered stereoscope, convex reflector to properly illuminate the whole picture, with rack and pinion adjust ment for length of focus. An improved reflecting stereo- Mope for large pictures, on the principle of Helmholtz’s stereo- telescope. The pictures are here seen in their true position, IDstead of reverse, as in the ordinary reflecting stereoscope. Pmartt's admirable dark tent which we have before described, And with which almost all photographers are familiar. A Aseful and clever instrument for varnishing the edges of dry Plates to give a uniform edging of varnish. A tripod stand "ith legs made of cane, giving the utmost degree of tight- a compatible with rigidity. A water-tight travelling , with the top fitted so as to stand at the back of bath When in use. A new form of field box containing all the Tquisites for working 12 X 10 plates wet, and measuring Only the same as a 12 X 10 dozen plate box. This is a very Complete equipment. There is also another field box with SOme additional appliances. A bellows camera with double "ing back, so contrived as to occupy no more space than an binary camera. These, with a variety of minor articles, Neh as plate drainers, collodion pourers, dropping bottles, Proved pneumatic holders, &c., complete a very perfect “splay of apparatus. Ottewill & Co., (3,133) contribute some cameras and Mher apparatus, of first-rate material and workmanship. 6Dese comprise the various requisites for the studio and a field in most general use. Mr. Ottewill has not aimed “novelty in his contributions, but rather exhibits those । ,c les of such approved form and design, and such excel- oF Ce in quality, as he is well known for producing. Some D theglass dishes which were used years ago, consisting of nAte glass fixing into a frame work of wood, and which for purposes have not been surpassed, are exhibited in this n"he following notice of the British Photographic Depart- mt appeared recently in the Times :— here is scarcely a class in the Exhibition which does not pro 4 With more or less of truth, to have its peculiar grievances shardships. Not one, however, has such just grounds for- SPlaint as the contributors to Class 14 (photography), and from "t, i vefewer complaints and remonstrances been received. Not 8vaPhotographers have been at all indifferent to the slights they q: received, or the way in which their once superb collection n treated. As a body they were among the first of the " whom the Commissioners unfortunately managed to 6n2, and their association, therefore, early withdrew from 3 ; fating in bringing about an exhibition which they knew i 0107 only to be located in a place where few would see it, : " Posed to such influences as would destroy their chances : ‘snttpessful competition with their foreign brethren. We would ] Fitor8 to say that only a very small per centage of the : ere 8 ° the building ever found by their catalogues that < ■ uibi"as such a thing as a photographic collection in the < “ havon, and of this small number only a smaller number 1 Weh 9 been tempted to scale the weary flights of stairs i “ Eive access to the room where tho photographs are 1 Mden away. Nyete information of those who may wish to see the little 1 remains worth looking at in this collection, we may 1 : this little had to be shared with the maps and school-books of . the education class. It must give foreigners (if any penetrate : up here) a curious notion of our ideas on education to find that , great dolls and cases full of the commonest kinds of children’s toys are thought more worthy of exhibition as educational objects than the artistic and beautiful results of one of the most ' important scientific and chemical discoveries of the age. It may possibly be due to this state of things that tho collection is by no means divided or arranged with proper effect, and that the Catalogue is therefore far from being as good an assistant as the purchaser has a right to expect. Photography in 1851 had no class of its own, and, in fact, was scarcely represented at all except by a few Daguerreotypes and Talbottypes, which, with their apparatus, were exhibited among philosophical instruments. Tho collodion process, to which is duo the development which has taken place since, was then not known. In tho present collection all tho photo graphs, with very few exceptions, are by the collodion process, and include, of course, every variety of specimens of tho art— large and small portraits, cartes de visite, landscape views, instantaneous and otherwise, towns and buildings, stereoscope, and positive transparent pictures on glass. Compared to what might have been expected, only a small number of portraits are exhibited, and of these collections only three call for any remark; viz., those by Mayall, Williams, and Watkins. Mayall very wisely makes every spectator a judge of his perfection in his art by exhibiting the likenesses of such personages as Lord Palmerston, Earl Derby, Mr. Gladstone, and others whose features are familiar. The art with which he has transferred the features and expressions of these states men is something almost marvellous oven for photography. The portraits of the two first named peers might be set before all photographers as models of the excellence which they should aim at in such works. Mr. Williams, among untouched photographs, only shows ono very well-known face—that of Mr. Gladstone, of which we cannot say more than that it is as good a likeness as that taken by Mr. Mayall, with all the addi tional advantage derivable from Mr. Williams’s exquisite method of printing. His other portraits are chiefly those of less known individuals, but one has only to look at them to see that the same success has been obtained, especially with the likenesses of ladies. Mr. Watkins shows a fine series of por traits of Rigtori in all her chief characters. It may be that these have suffered somewhat from exposure, for their printing is scarcely up to tho high standard usual with this photo grapher. In coloured portraits Claudet and Williams are tho chief exhibitors in point of merit. Some of the former’s en larged portraits are really wonderful efforts, as aro also Williams’s photographic portraits painted in oils of tho late Primate and the Earl of Malmesbury. Some very admirable likenesses, which can neither bo said to belong to the plain nor coloured series, are exhibited by Mr. Eastham. These are taken upon opal glass by the tannin process. Several of these, from the peculiarly soft and delicate tone given by the glass, are exceedingly effective. Caldesi is, as usual, first in his photo graphs from paintings ana miniatures. Of views and landscapes there is great variety. The place of honour in this class, whether for the wildest mountain scenery, for towns or buildings, for interiors of grand old minsters, likenesses of quaint old country inns or ivy-covered ruins—in short, for perfection in all that relates to out-door photography in its wildest and highest sense, belongs to Francis Bedford. Many landscape artists show in this collection, each of whom in his own peculiar walk may equal what Bedford does of the same kind in that branch, but he stands alone in being the only one who can equal all, no matter how long they may have practised, or how peculiarly their own they may have made any single department of landscape photography. Let the visitor look at Ludlow Castle, the Feathers Inn Ludlow, Raglan Castle, Tintern Abbey, and the interior of Wells Cathedral, and then turn to such views as the Cheddar