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The photographic news
- Bandzählung
- 7.1863
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- 1863
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 255, July 24, 1863
- Digitalisat
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Zeitschrift
The photographic news
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Band 7.1863
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- Register Index 619
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Band 7.1863
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THE PHOTOGRAPHIC NEWS. Vol. VII. No. 255.—July 24, 1863. CONTENTS. PAGE Photography in Paris.—Portraiture 349 Scientific Gossip 350 Toning Baths 351 A Few Words in Favour of an Old Friend.—The Malt Process. By F. T. Fassitt 352 The/Esthetics of Portraiture. By M. Disderi 353 Preparation of Sulphocyanide of Ammonium. By E. Millon ... 354 Doings of the Sunbeam 354 Proceedings of Societies—Amateur^Photographic Association... 356 Correspondence—Foreign Science—What a Lens will Cover, &c. —The Lime Toning Bath and its Difficulties 356 Photographic Notes and Queries—Old Iron Developer v. New— Fogging Nitrate Baths 358 Talk in the Studio 359 To Correspondents 360 Photographs Registered during the past Week 360 PHOTOGRAPHY IN PARIS. PORTRAITURE. It has often been remarked—indeed, it has become a generally recognized fact, that the French photographers especially excel in the delineation of the human figure, in all kinds of portraiture. We find all kinds of portraits, from the carte de visile to the full length life size, executed equally well. Delicacy, roundness, softness, and vigour characterize most of their photography. Ease and grace are common in the positions, and, with some few exceptions, the accessories and general arrangement of the sitter are spirited and effective, without being theatrical. There is a greater variety of style and effect, and less of the common place, than we find in this country. The examination of many portraits, cither in an exhibition or in the atelier of an artist, generally becomes tedious, if prolonged. But, in Paris, the variety of style, size, subject, and treatment keeps alive the interest satisfactorily In the exhibition, for instance, one artist shows chiefly fine card portraits, with great variety of treatment. Another exhibits a frame of exquisite vignette heads, of 5 by 4 plates. Then wc have the life-size busts of Alophc, taken direct, without enlargement. These are not to our taste, but still they are wonderfully bold and round, and, considering the method, wonderfully free from coarseness. There appears to be some degree of mystery as to the method of pro ducing these. They are styled untouched, and taken direct, but it is said that the negatives are much worked upon by M. Alophe, who was a painter before he became photographer. It must be remembered, however, that in working upon a negative, lights only can be put in— it would be impossible to increase the depth of shadows. The density of some parts may be increased by pigment, but not decreased. Be this as it may, the pictures are marvellously effective, but to us not so pleasing as a good solar camera enlargement. Next we find a screen of most excellent photographs on whole plates, in which each portrait is surrounded by a singular entourage, in the shape of a photographic frame, forming part of the picture. The sitter has been practically framed, or placed in a very rich and elaborately designed picture frame, through which he looks. The effect is singular and striking, but scarcely artistic. The photography is very exquisite, especially round, soft, and well modelled, and the positions are good. Were it not that all is so well done we fear the effect of this entourage to the figure would bo vulgar. We have next the spirited whole-plate and ten by eight portraits, by Adam Solomon, sculptor and photographer ; and pictures of the same class, by Pierre Petit, all fine studies of pose and excellent specimens of photography, but many of them spoiled by unnecessary touching. Numa Blanc adds to the interest of his fine por traits by stating that the enlargements were effected by aid of the electric light, by which also, by the way, Nadar’s pho tographs of the catacombs were obtained. Other distinctive characteristics giving interest to the portraits might be men tioned, but it is not necessary to enlarge further. Amongst the first, perhaps the first, portrait establishments in Paris, is that of M. Disderi. A brief sketch of what we observed there may be interesting to our readers. One of the most noticeable features of the establishment was the number and excellence of the solar camera enlargements, of every size and style, from the bust half life size to the full- length standing figure of the real proportions of nature; from the simple untouched photograph, to the most elabo rately-finished oil painting. All the enlargements appeared to be exceedingly perfect, those untouched as well as the most highly finished. There was an absence of the coarse black and white effect, without modelling, which we have seen in many solar camera pictures; and an equal absence of the feeble, flat, grey, ill-defined pictures which other artists produce with the same instrument. A full-length life-size of an officer in uniform appeared to us almost per fect, and so far as we could judge, untouched. The hand some suite of reception rooms was crowded with excellent specimens of art and photography, produced by the aid of the solar camera. The enlargements, we were informed, are not effected in Paris, but in Toulon, where M. Disderi has an establishment for this and similar work in which a pure and actinic light is of great importance, the ordinary print ing establishment being in the immediate neighbourhood of Paris, at St. Cloud, if we remember aright. Ascending to the ateliers, M. Lacan again kindly offi ciating as cicerone, we find M. Disderi actively engaged in the posing and arrangement of sitters. The glass-room is large and spacious, having top light and side light, all front light being carefully cut off. The space not immediately in use is filled with a large profusion of accessories, well designed articles of furniture, and toys to attract the attention of children. M. Disderi's management of the sitter is an admirable embodiment of the principles he lays down in the valuable and interesting article on the “ Aesthetics of Portraiture,” which is concluded in the present number of the PIOTOGRAPIIIC News. The general arrangement of back ground and accessories having been secured, M. Disderi places himself in the position he desires his model to assume. The sitter does his best to imitate the position, and if he fail, his awkwardness is pointed out to him with good- humoured raillery, sometimes accompanied by pantomime, illustrating the awkward effect produced. There is no attempt to twist the head, body, or limbs into the desired position ; but the sitter is requested to move away, and then begin de novo. There is little danger, therefore, of the twisted, stiff, anxious look too often seen in photographic portraits. The effect of placing the sitter in position, and attempting to get the right view by a series of little modifica tions requiring a few minutes to make, generally results in great fatigue to the sitter, and an utter want of grace or ease in the picture. M. Desderi’s aim appears to be to avoid pro ducing fatigue, anxiety, and depression in the sitter, and in this he seems very successful. His operations in arrange ment are, moreover, exceedingly rapid, which materially adds in preventing fatigue to the sitter. Three negatives for
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