The photographic news

• Bandzählung: 13.1869
• Erscheinungsdatum: 1869
• 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-id1780948042-186900000
• PURL: http://digital.slub-dresden.de/id1780948042-18690000
• OAI: oai:de:slub-dresden:db:id-1780948042-18690000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Bemerkung: Heft 545 (S. 73-84), Heft 547 (S. 97-108), Heft 589 (S. 599-610) fehlen in der Vorlage. Paginierfehler: Auf Seite 444 folgt Seite 443
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

THE PHOTOGRAPHIC NEWS. Vol. XIII. No. 584.—November 12,1869. CONTENTS. PAGE The Photographic Exhibition 539 How to Recover a Lost Negative 540 Another Collodio-chloride Paper in Commerce 541 The Photo-relief Process in Paris 542 Historical Portraiture 543 Gradated Backgrounds 544 Transparent Positives. By Prof. Towler, M.D 545 “ Sealing-up " Pictures.?. By Carl Meinerth 545 On Pigments Employed in Enamel Photography 546 Correspondence.—Minims versus Drops—Photo-crayons for Winter Portraiture 547 Miscellaneous 547 Proceedings of Societies.—North London Photographic Associa tion—Photographic Society of Marseilles 543 Talk in the Studio 549 To Correspondents 550 Photographs Registered 550 THE PHOTOGRAPHIC EXHIBITION. The progressiva improvement manifest in the photographic exhibitions of the last two or three years is a fact as un questionable as it is gratifying, and is, of necessity, a cir cumstance of profound satisfaction to those through whose instrumentality the revival of the custom of holding an annual exhibition was due. The collection of photographs now open in Conduit Street is, beyond all comparison, the finest which ever has been displayed under any circum stances. The number is sufficiently large, and contributed by a sufficiently extensive and varied array of photographers to constitute a thoroughly representative exhibition, so that ths excellence of every kind, technical and artistic, mani fested, is abundant evidence of the general advance and improvement amongst the devotees of the art, amateur and professional. Amongst the many noteworthy features of the exhibition, there were two or three especially deserving of notice. One of the first which struck us was the fact that whilst the in fluence of Adam-Salomon was abundantly manifest in the mass of the portraiture, it was seasoned throughout, in greater or less degree, with individuality, each photographer stamping his own impress of style upon his work, and giving it especial characteristics. The massiveness, the richness, the brilliancy, the boldness of chiaroscuro which distinguish the photographs of the eminent Frenchman, are manifest in greater or less degree in all who have adopted the suggestion afforded by his pictures ; but in addition to these qualities, more or less modified, many of the contri butors have aimed at something besides, and in many cases with good results. Foremost of those who, in adopting the Salomonesque suggestion, have produced pictures with essentially distinc tive and grand characteristics of their own, is Mr. Blanchard. It is not too much to say that he exhibits some of the noblest examples of portraiture ever produced by photo graphy. Immediately on entering the large room on the right hand, half a dozen large portraits almost startle the visitor with their unusual brilliancy, and, as on Tuesday night they bore no name, the almost universal question was, “ By whom are these ?” Striking as are these pictures at the first glance, they become more wonderful when care fully examined. The size is fifteen inches by twelve inches, and in the majority of instances the figure is large on the plate, half-length generally, in one or two cases three- quarter length. The richness, depth, brilliancy, and deli cacy of Salomon are all there, with this largeness of style added. The rich depth and transparency are only equalled by the rare delicacy, modelling, and perfectness of texture, both in flesh and draperies. These elements, however, although conducing to artistic results, belong only to the higher order of technical qualities; but in the elements more essentially belonging to the artist proper the success is as great. The composition is, as a rule, exceedingly fine, and in some the expression and characterization are perfect. Finest in almost every sense, and, in reality, equalling any piece of portraiture we ever saw produced by any form of art, is a portrait of Mr. John Franklin, a well known artist. A noble and striking head, singularly resembling that of Charles the First, wearing the cavalier peaked beard and the moustache of that period, and having donned the medieval velvet and lace, rendered with all the qualities we have named in their most complete combination, the por trait is one which might have been produced by Vandyke, and is in every way worthy of him. Scarcely less perfect, and demonstrating that the success is not due to the adventitious aid of costume, is a portrait of a well-known litterateur, Mr. Crawford Wilson. Fresh and original in pose, massive and solid in modelling, admirable in texture, full of character, dignity, and intelligence, it is an absolute rendering of the man as known by his friends. The other pictures each possess in degree equal qualities. These, as well as some others in the room—we may especially mention some by Col. Stuart Wortley—admirably illustrate that slovenly photography and fuzzy definition are not necessary, as some people have imagined, to artistic portraiture, nor even to make photographic portraits resemble and recall the works of the old masters in painting. A long array of exhibitors also show pictures of similar class, some in their own style equalling thoseof which we have been speaking, and many possessing very high qualities. Of these wo may especially mention the wonderfully perfect likeness of Dr. Diamond, and that of Mr. S. C. Hall, by Messrs. Robinson and Cherrill. Both these pictures possess every quality which is desirable in portraiture, the expres sion and character being most admirably rendered, whilst in technical points they resemble and rival the finest mezzo tint engraving. Messrs. Slingsby, Burgess, Briggs, Fradelle, B. J. Edwards, Fry, Noel Fitch, Cocking, Lafosso, and many others exhibit pictures of the same class, all well worthy of attention, to which we shall have again occasion to revert in detail. Not less noteworthy than the features in portraiture to which we have adverted is the prevalence of combination printing in the present exhibition. Of primary interest, from its age, from its associations, and from its excellence, is Mr. Rejlander’s “ Two Ways of Life,” of which one of the original copies, produced upwards of a dozen years ago, is ex hibited. The photographic public to whom the work was then introduced were not sufficiently advanced to appreciate the method which Mr. Rej lander so admirably described before the Photographic Society, and the artist and his work received but scant appreciation. His work has, however, been germinal, and he may well be proud of the results ex hibited in the present exhibition, and which may be