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

The paper on which this opinion was printed was hardly dry from the press, when I received, through the kindness of Professor Kuhlmann, the photograph which had excited so much interest, and which I now submit to the inspection of the Society. As in all stereoscopic pictures, it is difficult by a casual inspection of them to perceive any difference between the right- and left-eye picture, when they are taken at the proper angle; but when they are combined by con verging the optic axes to a point between the pictures and the eye, as done by Dr. Brown, their stereoscopic character is instantlij seen. As very few persons, however, are able to unite the pictures in this way, I had a copy of them taken by Mr. Moffat, and the pictures transposed, in order to be viewed in the stereoscope. This photograph, with the pic tures transposed, is now before the Society ; and I have no doubt that every person that looks at it in the stereoscope will see the figure in relief, though it is more distinct when seen by the convergency of the optic axes, as Chimenti of course intended it to be seen. As the photograph now before us has been reduced to about one-fourth of the original, the stereoscopic relief observed by Dr. Brown in the Museum at Lille must have been more distinct than in a reduced copy taken photographically. It is hardly necessary to observe that a stereoscopic pic ture executed by the hand must be very imperfect compared with those obtained by the binocular camera. The artist fixes only certain points in his copy of the original drawing, and joins these points as skilfully as he can; but if the original is stippled, or drawn only in points, and if, with his compasses, he places these points, in his twin copy, at the proper binocular distances from the same points on the original, which may be easily calculated, the stereoscopic relief will be as perfect as if the two pictures had been taken in the binocular camera. I hope to be able to show such a stereoscopic picture to the Society, and also copies of Chimenti’s drawings of the same size as the original, and with all the lines, points, and shades more distinctly separated than they can possibly be in the best reduced photograph. Some of those persons who have not seen the stereoscopic effect of Chimenti’s drawings, in consequence of not know ing how to see it, have been surprised at finding two perfectly similar drawings, as they believed them to be, placed side by side, and have been led to conjecture that one of them may have been a copy by a pupil of the Florentine artist. Both the figures, however, bear the name of Chimenti; and, as we have seen, the one is as essentially different from the other as the binocular views of a solid statue. PHOTOGRAPHY AT THE POLYTECHNIC INSTITUTION. The Polytechnic Institution is one of the oldest favourites with the public as a place combining instruction and amusement, and has, moreover, many associations connected with photo graphy. Recently, it has acquired a distinctive characteristic in the prominence which it gives to photographic illustration. By the aid of the magic lantern, or dissolving view apparatus on a very large scale, photographic transparencies receive the utmost possible effect. The series of photographs which are now ex citing considerable attention consist of a selection from Mr. England’s stereoscopic views of American scenery, published by the London Stereoscopic Company. These pictures, illumi nated by the oxy-hydrogen limo light, are thrown on an im mense screen, the' disk covering seven hundred superficial feet, and notwithstanding this immense amplification, produce a very fine effect. The only faults we have to notice consist in a little hardness in some, and a little coldness in the tone in others. First on the list is the Broadway, New York, an instan taneous view, giving a very good idea of that busy thorough fare, and reminding us vividly of the day we first stood there. West Point, on the Hudson River, with its military academy, is a fine picturesque view, as is also the view of Sleepy-Hollow, rendered so famous by the legends of Washington Irving. Here we have the veritable spot where the “ Headless Man,” to 150 THE PHOTOGRAPHIC NEWS. [March 28,1862, the no small terror of the inhabitants of this dreamy regid performed his nocturnal excursions. Passing up the Hudsd we find ourselves amongst the Catskill Mountains, where » Van Winkle slept and dreamed. Some of the scenery here 1 very grand, and like the Hartz Mountains, fit dwelling place 1 elf and gnome. Here are the Catskill Falls, a deep gorge, • a cascade descending some hundreds of feet, dashing fr rock to rock in wild confusion and turbulent beauty. The chief attractions of this series are the superb views Niagara. The falls in summer, with warm glowing atmosphe" soft and sunny, and in winter, when the spray is frozen il myriads of sparkling diamonds; whilst around are icicles■ enormous size, hanging from the rocks, and reaching almost > the foot of the falls. The panorama from Prospect "Point shos the American and Horse-shoe Falls, the figures in the fo ground suggesting the vastness of the scene. This i charming photograph, full of softness and atmosphere. D Lover’s Walk, Niagara, is a well chosen view, with fine P spective, very sunny effect. Passing down the Niagara Ei’’ we get a representation of the longest suspension bridge the world. The detail of this fairy-like structure is very W Here also wo have the crowning work of Stephenson-* Victoria Bridge, Montreal. The St. Lawrence at Quebec,* its thousand ships, riding peacefully at anchor on the bo bosom of this mighty river, is another excellent view. The Falls of Montmorenci, a cataract near Quebec,of* 1 hundred feet in height, is a fine and telling picture. An* cavern is amazingly effective and beautiful. Long icicles* pending several feet from the roof glitter in dazzling rays wondrous splendour, such subjects illustrating pre-emine® the excellence of photographic delineation. The undoubted success of these transparencies is due much to their photographic excellence as to the interest of subjects. We are glad to believe that photographs must long largely, if not entirely, supersede the gaudy and un‘ paintings which have hitherto formed the staple of views the magic lantern. * Lecture by Captain Philpott* at the Society of Arts. THE PICTURE GALLERY IN THE EXHIBITIO OF 1862* our readers The chief desideratum of a picture gallery is an d"a distributed light throughout, admitted in such a way prevent its rays being chiefly directly reflected from tbe face of the picture to the eye of the visitor. A w therefore, satisfying this condition, when the obser standing at a convenient distance, is the only one whicb be called perfect. No one can have observed pictures lighted by ordil windows without experiencing the unpleasant effect I duced by the improper reflection of the rays, or glitter" the pictures, as it is called. It is for this reason thall is often puzzled where to find a place from which to s* whole of a large picture to advantage. This defect “ in many of the finest galleries, both in this country and the Continent, and the result is that some picture, scarcely be seen at all, while others can only be ob% from one or two points, which are always more or crowded, according to the merits of the subject. This is obviated by admitting the light at a pattls angle from the roof, by means of a skylight extel along its entire length, and which in the present' measures 31 feet in width, that is, 15' 6" from the ridsa either side. The entire width of the opening, measur, a horizontal plane, is 29' 2". As will be seen by refe to the section, each room is 50 feet wide, and at a heis . 32' 9", a cove, springing from a cornice on either’ reaches the height of the tie-bar of the principals ( above the floor), 12' 4" from the wall, thus leaving 4 • 25' 4" between the coves. In this space a transparent ceiling (hereafter to be replaced by ground glass) 15 _ duced, which, however, is raised 2' 4" above the 2 point of the cove, or 45' 7" from the floor. The Tbe following description of the principles upon whicl” picture gallery, and we presume the photographic ga" will be built and lighted will interest MAR between calico is These as possil be avoid may be actly ha feet widi light, an namely, conseque is reduet glitter, 1 The f glitter, ( -Suppe of the w that a 1 furthest height o to roach floor) st or 30 fet striking other wc light in and, as wall, or sequent! will be from the Tnnsyers It wi [ailed beholde Point is it will . ceding glitter diagrar of reflei 14 feet, and th tions si tion in he may This fully ti any wi Walls, princiy constri