The photographic news

• Bandzählung: 11.1867
• Erscheinungsdatum: 1867
• 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-id1780948042-186700008
• PURL: http://digital.slub-dresden.de/id1780948042-18670000
• OAI: oai:de:slub-dresden:db:id-1780948042-18670000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

8 THE PHOTOGRAPHIC NEWS. [JANUARY 4, 1867. artistic capacity of photography; first, with regard to portraiture, and then to landscapes. Of portraiture : we are often informed that photography gives a petrefaction of the sitter, and not a real living like ness. How far this may be true in some cases I am not pre pared to state. One thing is certain : that photography gives a true representation of the objects presented for its models. The fault complained of is one with which photography has nothing to do ; it is not the means that are in fault, but the men. If the incapacity of the “ man at the lens,” who usually styles himself the “ artist,” leads him to remove the cap and complete his picture at the moment he sees a scowl instead of a smile, who is to be blamed for the result,—the sitter, photo graphy, or its incapable “exponent”? With first-class lenses and chemicals, and in a good light, portraits can be taken of moderate size with quite sufficient rapidity to catch a good, truthful, and pleasing expression ; only let the lens be uncovered at the right moment, and all is done. How different is the case of the portrait painter! He has to “ catch ” the expression, and, when caught, he has to treasure it up in his mind, to elaborate it into his picture as he pro ceeds. How great the chance that in doing this he will embody his own ideas upon the canvas of what his sitter should be, instead of rendering a faithful account! How likely that he will express his own, and not another’s thoughts ! The first requirement of a portrait painter is to know just what expression is required to give the face he is delineating the most natural and pleasing likeness to his model. If photographers took as much trouble about expression as painters do, and, instead of asking their sitters to look “ steady and pleasant ” just at the moment when, to meet some fancied necessity about the state of the plate, they imagine the exposure must be accomplished ; if they simply waited till the expression could be got right, and then obtained their picture, there can be no doubt that they would do more to raise their art in the public estima tion than the adverse criticisms of ignorance can ever effect in an opposite direction. All this involves as its starting point the necessity that those who practice photography should make themselves acquainted with the requirements of art; if they did this, and if, in the selection and manage ment of the expression with which they rendered their models, they acted fully up to their knowledge, the public would soon find out its mistake in declaiming against the capacity of an art whose first essential is absolute truth. 1 have hitherto been speaking only of expression, because it is in that one particular that the art powers of photography are generally considered most likely to fail. In order fully to consider the scope of photography as applied to por traiture, many other matters should- be brought forward: the perfectly truthful rendering of the pose, and the com pletely characteristic way in which every part of the figure is given, are matters which, though, of course, subservient to the more important features of the picture, are not to be thought lightly of. Wherever the character of the picture is to be in any way influenced by the attitude, manner, or drapery of the model, photography offers to the artist just that power which he wants of conveying in all these minor- matters the “ point ” of his picture, without in any way obscuring the individuality of his sitter. Another thing— a matter of, I believe, common remark, but not the less important for that—is the fact that photographs afford generally the best family portraits. There is in their unerring truthfulness a power which alone can render those minute points of similarity in the individual members of a family which cannot be traced with accuracy by the hand of even the most skilful of unaided artists. There is one thing, however, which photography can never do, but which artists often seem to think a most necessary part of their craft: it can never flatter; never can it alter the shape of any unfortunately square mouth, or fish-shaped eyes. These defects may be hidden as much as possible in the arrangement of the figure; but wherever they are seen on the ground glass of the camera, there they will inexorably mar the photographic reproduction, just in pro portion as they disfigure their unfortunate victim. These things are, of course, matters of more or less indifference to some “ artists,” who, if they cannot draw their sitter to look as they think well, will draw some one else instead; in fact, they virtually carry out the plan adopted by the Chinese artists, who, when you take your seat, will ask : “ Will sahab be handsome, or all samey samey?” There can be no doubt but that the difference between the work of an artist properly so called, and one who is but imposing upon himself and others by his assumption of the title, lies mainly in the power of the one to represent the objects to which he directs his attention with all the spirit and vigour of life apparent in every line and every touch ; while the other can only give a lifeless representation—the mere body without the spirit. The one can paint the sea with waves that seem to leap from the very canvas till you almost fancy you can hear them roar; the other can but paint them as if frozen by an arctic blast. The one can give, with all its intensity of meaning, the deep, fixed, thoughtful gaze, which the other would render with—oh, how slight a difference!—an unmeaning stare. Knowing this, then, and remembering the truthfulness of photography, and the ease and certainty with which it may be worked, we surely might conclude that we have in it the very power and the very scope which is wanted to make the true portrait painter. Surely photography is enough of an “ art,” and it is but the “ artists ” who fail. W e want artists, and none but artists, to work at photography; real artists, I mean, not the self-styled men who have not got two ideas to rub together, and whose sole connection with photo graphy is a question of pounds, shillings, and pence, and who, if they can make money, care not what atrocities they commit in the way of inartistic productions; but men who are willing to devote their lives to the production of works whose fame shall immortalize both them and their art. When we see this we shall find a practical answer to all the objections of misguided and ignorant critics, who, speak ing of matters beyond the grasp of their limited compre hension, assert that “ photography is not an ait.” PHOTOGRAPHY AND BOTANY AT THE PARIS EXHIBITION. The Imperial Commission of the forthcoming exhibition have issued a memorandum upon the means of obtaining by photography the necessary materials for creating a diorama representing the most remarkable districts and plants of all countries. “ The Imperial Commission, whilst organising the exhibi tion of live plants and produce in the park of the Champs de Mars, has had under consideration the subject of repre senting, as far as possible, the remarkable plants which, in consequence of the distance of the country of their growth, cannot be shown alive in their full development and in their natural situation. It is proposed to establish in the garden set apart for the International Exhibition of horticulture, a diorama which will display in its characteristic aspect the vegetation of the principal countries of the world. “ In order to produce this interesting spectacle, it is neces sary that the Imperial Commission should endeavour to obtain all possible guarantees for scientific and artistic accuracy. Visitors will come to the Exhibition from all parts of the globe, and each one will desire to recognise the plants which grow in his country; every picture will thus at all times have to undergo a strict test which will guarantee its fidelity. The public will seek out with interest this epitome of the vegetable world, which will resemble a course of botanical geography comprehended at a glance. “ In order that this object may be completely carried out, it is necessary to exhibit the specimens of plants under their natural conditions, either alone or in groups, and to select