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540 THE PHOTOGRAPHIC NEWS. [November 12, 1869. regarded as the direct results of his own early effort. Fore most amongst what may be termed his pupils, although now himself the master and leader of numerous followers, may be mentioned Mr. Robinson, who, in conjunction with his partner, Mr. Cherrill, make a magnificent display in the present exhibition. The most important combination print they exhibit is one we have already noticed, “Over the Sea,” which wins especial admiration from artists who examine it. About a dozen exceedingly beautiful landscapes, fifteen by ten, are combination pictures in so far as the skies are printed in, but not otherwise. To these we shall refer again, but may mention here that amongst them will be found the gull picture, which has excited so much controversy. Mr. Slingsby’s “ Milk Maid,” and his “ Early Summer,” the latter a glorious landscape with figures; Mr. Hubbard’s “ StolenMoments," one of the most charming subject pictures yet produced by the art; Mr. Twyman’s “ Cornfield,” another beautiful landscape with figures; and some others of the same class, demand a detailed notice, and we shall return to them again. Mr. Earl’s fine landscapes on plates thirty inches by twenty, on which we shall have more to say, are also produced by combination printing. Col. Stuart Wortley's cloud pictures on plates fifteen by twelve are amongst the notable features of the exhibition, both for their novelty and their rare poetic beauty. They consist of marine views representing sunrise, sunset, and moonlight effects ; the fine effects of light and shade, and the grandeur of the clouds, give these pictures a solemn grandeur rarely seen in photographs. It is interesting to note that many of the attractive pic tures of the present display, if not absolutely by young men, are exhibited by gentlemen whose works were unknown to the exhibitions of ten or even half-a-dozen years ago, many of the exhibitors at which we are sorry to find unrepresented here. Besides these already named, however, we have some of the oldest and ablest representatives of photography. Mr. Mayall exhibits a most interesting collection of ex amples of the art, which practically illustrate the history of photography. A very fine collection of Daguerreotypes is well worth attention. Amongst these may be found the earliest examples of pictorial photography, by which we here mean the production of subject pictures by photo graphy, and these are interesting for their own excellence, as well as from association. These were shown in the ex hibition of 1851. A fine series of the genre pictures which were contributed to the exhibition of 1862 is also shown; and some admirable illustrations of that department of photography to which Mr. Mayall chiefly devotes his atten tion in the present day—we mean the production of first-class enlargements to be finished by the painter. Mr. Mayall’s especial aim is now to secure the use of photography as a handmaid to art, so as to combine, in the highest class of portraiture, the most perfect fidelity with the highest finish. Of the painter’s work, some of which resembles in delicacy the finest enamel work, we have not time to speak now; but we call the attention of the visitor to the rare excellence of some of the enlargements, which are absolutely untouched. There are many fine examples of enlargement in the ex hibition, plain and coloured. Mr. Rejlander’s enlargement, finished in crayons, of a disconsolate little urchin who is “ kept in ” school for misbehaviour, is capital. Mr. Faulkner has a charmingly sunny coloured enlargement, a head of a child. Mr. Gillo has some fine enlargements on collodion, afterwards transferred to paper. These are excellent in colour and quality. The portraiture generally is good in this exhibition, and much of it is worthy of further detailed notice. Amongst the cards we may mention here that the visitor should not overlook a frame of charming little things by Rejlander. In landscape work we miss the names of some old contri butors. Mr. Bedford is not represented, nor Mr. Mudd. Mr. Vernon Heath, whose name seems to rise naturally in connection with those just mentioned, has, however, some exceedingly fine landscapes of Scottish scenery, delicate and brilliant, and, above all, distinguished by a true feeling of atmosphere. Mr. R. Manners Gordon exhibits some ex quisite gems in the form of cabinet landscapes. Mr. Ward- ley has a number of exceedingly fine and very large land scapes. Mr. England’s Swiss scenery is as perfect as ever. Mr. M. Whiting, Mr. Stephen Thompson, Messrs. A. and G. Taylor, Mr. Frank Howard, Mr. Sanderson, and others, exhibit landscapes, to which we shall return. Most of the recent processes and novelties are represented. Some very fine examples of Albert’s process should not bo overlooked. The grand collection of specimens of carbon printing, exhibited by the Autotype Company, cannot be neglected; and, as illustrating the capacity of the process to, justice to portraiture, landscape, and reproduction, they should be well studied. Mr. Window exhibits examples of a new carbon process which he has recently patented, and which, from its fitness for producing enlargements, and the fact that it is a direct process involving no necessity for transfer, is likely to be of great importance. The examples exhibited—all enlarged portraits—are round and well modelled, showing no lack of half-tone. The examples finished in chalk are very fine, and suggest the especial fit ness of this process for enlarged portraiture. Some good examples of Marion’s carbon process are also interesting. Mr. Henderson’s two frames of fine enamels are well worthy of examination. The examples of photo-crayon portraiture are not so numerous as might have been expected, Mr. Sarony himself not sending any ; but there are some very good examples, of which we shall speak hereafter. Mr. Burgess is the only exhibitor of eburneum specimens, but his are very fine. Mr. Arthur Taylor’s examples of print ing with shellac and borate of silver will be examined with interest. The bounds to our space and the brief time for examina tion limit us to a hasty glance at such specimens as most prominently attracted our attention. In our next we shall notice in more orderly detail many of the works exhibited. In the mean time, we may remark that the pictures fill the two rooms of the gallery in Conduit Street, and are, on the whole, well and symmetrically hung, covering the walls for a space comfortably within the reach of the eye, and also covering several screens and tables. A largo company of photographers and others interested in the art attended the opening meeting on Tuesday night, and were duly received by the president. The evening appeared to be a very gratifying one to all present. HOW TO RECOVER A LOST NEGATIVE. “ How to recover a lost negative when you have a print thereof” is the title affixed by Mr. Rejlander to an interest ing series of pictures hung in the present Exhibition, brief instructions being given on a card which accompanies the prints. Mr. Rejlander, as many of our readers know, is not only distinguished as the father of art photography, having in relation thereto for so many years “ allured to brighter worlds and led the way,” but he is exceedingly ingenious and full of resource in cases of emergency, and always ready to communicate for the benefit of others. In the series of prints now under notice a practical lesson is given in th 0 reproduction of photographs. The subject is one of his well known genre pictures, with the title “ Please give us a copper, sir 1” The negative has been lost or broken, and the subject being still in demand, it was desirable to pro duce another negative. Every photographer knows that prints from a negative reproduced from an albuminized print the full size of the plate are generally immeasurably in ferior to those produced from the original negative. The pi 0 ' turn is flat, the definition is faulty, and the texture of t 0 paper, being reproduced as perfectly as the image, product great coarseness. . . .he Mr. Rejlander deals with the difficulty in this way. first reproduces the original wholc-plato print in redue
