The photographic news

• Bandzählung: 7.1863
• Erscheinungsdatum: 1863
• 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-id1780948042-186300004
• PURL: http://digital.slub-dresden.de/id1780948042-18630000
• OAI: oai:de:slub-dresden:db:id-1780948042-18630000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

50 as the solutions are kept separate until the moment they are required for use. All the other acetates, such as those of strontian, barytes, and zinc, give nearly the same results ; but the acetate of soda employed in this manner does not appear to combine with the chloride of gold, which it does not render colourless, at least when employed at 3 per cent., and it also acts very slowly. THE PHOTOGRAPHIC EXHIBITION. THIRD NOTICE. We have received numerous communications, from operators and others, regarding the opening of the exhibition in the evening, seconding our remarks, and urging us to press the subject on the attention of the authorities. We find those gentlemen upon whom the responsibility depends are most anxious to afford every facility, to every class, for visiting the exhibition, and profiting by the pictures exhi bited. But opposing their desire to open in the evenings, they find the stern fact that, on former occasions, the cost has been greater than the receipts. As a means of meeting the diffi culty, however, it is in contemplation to keep the exhibition open in the evenings during the last fortnight of the season. We cannot promise this as an absolute certainty, but believe that the authorities are so far desirous to meet the wishes of the photographers, that they will undertake this even at the risk of a little loss. Due announcement of the fact will be made. We hope, before long, to be able to announce the decisions of the adjudicators in reference to the prizes to be awarded. The gentlemen who have undertaken this delicate task are pre-eminently well fitted for its satisfactory discharge. Mr. Joseph Durham, photographers know"as a sculptor of eminence, a gentleman of highly cultivated taste in art, and a member of the council of the Photographic Society. Mr. Roger Fenton is known as a very able photographer, and one of the chief founders of the Photographic Society, and, having recently retired from the actual practice of photography, his decision must be free from the slightest suspicion of personal bias. In case of difference of opinion between these two gentlemen, they will elect an umpire t o decide: The council have enlarged their intention, and six medals will be given instead of four, as was originally contemplated. These will be thus distributed :— 1. For the best portrait, or portraits. 2. For the best landscape, or landscapes. * 3. For the best instantaneous picture, or pictures. 4. For the best contribution by an amateur. 5. For the best composition picture from life. 6. For the best reproduction or composition from still life, or copy of paintings in oil or water-colours. In regard to several of the subjects there is sufficient dis tinctive superiority as to make the decision comparatively easy; regarding the landscapes, however, there are several so nearly balanced that the task of selection must be very difficult. We will not, however, anticipate the decisions. Proceeding with the chief contributions in the order of the catalogue, we find a series of reproductions from paintings by Mr. M. H. Phillips. These are very excellent as repro ductions, but the especial point which strikes us is the singularly photographic effect of some of the pictures. Here are two copies of pictures by MacCullum, “ Autumn ” and “ Winter,” either of which might very easily be mis taken for photographs from nature. The “ Autumn ” is a little dark and heavy, from the profusion of rich and warm colours in the original ; but the “Winter” is an admirable picture, with a perfect miisemhlance which suggests forcibly the idea that the original was painted from photographic studies. Mr. G. R. Mainwaring has several frames of flowers and fruit, grouped with great taste, and exceedingly well photographed. These do not generally exceed the half-plate size, and are much more suitable for such subjects than the largo photographs of similar subjects exhibited by Mr. Fenton two years ago. Still, amongst the finest landscapes are the contributions of Mr. Mudd. They are always well chosen and picturesque subjects, and, generally, at once brilliant, soft, and atmo spheric. No. 29, the “ Hermitage Bridge, Dunkeld," across the Braan, if we remember rightly, is a wonderful study of foliage, water, and large boulders. The thick masses of foliage are rendered with perfect detail, the water is trans parent, and the large light-coloured stones in the foreground free from the slightest chalkiness. “ Castle Crag, Cumber land ” (No. 48), is another charming picture. Mr. J. H. Morgan has some very excellent landscapes. A couple of “ Studies of Sheep,” from life (Nos.26 and 27), are very good, and giving just the head and bust, have a quaint and amusing effect. Mr. Mayland exhibits some fine landscapes of views in and about Cambridge, and some good interiors of difficult subjects, which have before been noticed in our columns. The Hon. W. Vernon exhibits some pretty good landscapes, but which do not, on the whole, justify that gentleman’s reputation. Messrs. Fothergill and Branfill exhibit a number of pictures, from tannin plates, of scenes in Genoa. The majority of these have been exhibited before; they arc clean and bright, wanting a little atmo sphere, and sadly defaced with white-paper skies. “ The Pieta,” by Michael /Angelo (No. 41), is a charming picture of a fine relievo. Mr. C. Alfieri exhibits some good and some indifferent landscapes, those of “Furness Abbey” being best. Lady Jocelyn exhibits some views of Broad lands, Hants, which are delicate and detailed, but some of them a little wanting in atmosphere. One is a charmingly sunny thing, the fantastic shadows of foliage on a wall almost seem to flicker before the eyes. Mr. D. Combe ex hibits a figure of a mounted volunteer, which is beautifully soft and round, but a little stiff and formal in the lines. Mr. Eidman exhibits a view of St. Martin’s Church, from Pall Mall, intended to represent twilight. It is wanting in transparency, and looks dingy. Mr. Stephen Thompson exhibits a large number of landscapes, and some statuary. Amongst his contributions are many excellent pictures, of which we shall have to speak further, but many of them, especially those immediately before us, have the unfortunate fault in lighting, of which we have before spoken in this gentleman's productions, which gives them a flat and mono tonous effect. “Kelso Abbey” (No. 34), “ Tarsel Bridge, Flodden Field ” (No. 40), and “At Richmond, Yorkshire ” (No. 54), are notable examples of this characteristic. Another little genre picture (No. 45), which, being un fortunately hung very high, is likely to escape attention, is well worthy of notice. It is entitled “ A Happy Dream,” and is by Messrs. Ross and Thompson. A pretty child lies sleeping, with happy peaceful countenance. A fairy-like fe male figure bends, or hovers about it, suggesting the idea of the “ Angel’s Whisper,” as described in Lover’s ballad. The general ensemble of the composition is good, and the trans parent immaterial effect of the angel visitant is well managed. We commend this effect to the attention of Bullock Brothers, who made a great mistake not to call their “ Footsteps of Angels ” simply a fire-light effect, as which it would have won golden opinions. We regret that the hanging of “ A Happy Dream ” does not permit a more detailed examination. We conclude for the present with a brief analysis of the processes represented in the exhibition. The number of contributions which are hung is larger than on any pre vious occasion, 825 frames being catalogued, whilst between one and two hundred have not found places. This shows an excess of contributions exhibited over the last exhibition of not less than two hundred frames. Wet collodion is now almost universally used, the proportion of other processes being less than ever. Upwards of seven hundred of the pre sent contributions are by wet collodion ; twenty-live by the collodio-albumen process, the chief of these being by Mr; Mudd ; eighteen by the tannin process ; eight by Dr. Hill