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The photographic news
- Bandzählung
- 11.1867
- Erscheinungsdatum
- 1867
- Sprache
- Englisch
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- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Parlamentsperiode
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- Bandzählung
- No. 479, November 8, 1867
- Digitalisat
- SLUB Dresden
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- Ausgabe
- Parlamentsperiode
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- Wahlperiode
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Zeitschrift
The photographic news
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Band
Band 11.1867
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- Titelblatt Titelblatt I
- Sonstiges Preface III
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- Register Index 623
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Band
Band 11.1867
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- Titel
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THE PHOTOGRAPHIC NEWS. Vor. XI. No. 479.—November 8,1867. CONTENTS. PAGE Photography in Paris and the Paris Exhibition 533 Preservation of Prints by Varnishes, etc 534 Photography and the Abyssinian Expedition 535 The Morphine Dry Process. By Samuel Fry 535 On the Intensity of the Solar Radiation. By M. J. L. Soret ... 536 On Durable Sensitized Paper and the Sulphocyanide of Gold Toning Bath 537 Cabinet Portraits 538 Ona New Method of Preparing Magnetic Oxide of Iron, and on the Probable Existence of an Iodide and a Chloride Corre sponding to it. By Dr. T. L. Phipson, F.C 8., etc 539 PAGE Photography and Fine Art Reproduction 539 A Haunted Man 540 Proceedings of Societies—Amateur Photographic Association ... 541 Correspondence—The Invention of the Thaumsacope-Micro scopic Examination of the Atmosphere—Soldering—The Cofee Process—Why the Public are Careless in Preserving _ Photographs 541 Talk in the Studio 543 To Correspondents 544 Photographs Registered 544 PHOTOGRAPHY IN PARIS AND THE EXHIBITION. The opportunity afforded by the International Exhibition in Paris of examining the photography of the world was one presenting to the photographic journalist important facilities for estimating various facts in connection with the present position of our art. A second visit, after an inter val of six months, presented some especial points of interest: it enabled us to form some idea of the stability of the prints from the signs of decay or change which might have been set up during the period of the exhibition ; and it enabled us to re-examine the specimens of different nations after the varied expressions of opinion, public and private, which have come under our attention in the course of the discussions as to the relative excellence of English and freign photography which the Exhibition has evoked. The ordeal through which the exhibited prints had to pass was not a severe one; but it was nevertheless a test sufliciently severe to afford a fair estimate of stability. The Exhibition was open seven months, and we examined the prints during the last week of that period. Most of them were in the Exhibition some weeks previous to its opening, and were necessarily produced a few weeks earlier still, so that, assuming all to have been prepared expressly for the Exhibition, they had, as a rule, been in existence nine months, a period too often sufficient to rob a photograph of its first bloom and purity of colour, and in some cases to render a print yellow, spotted, and worthless. Through the interminable habit of watering the floors of the Exhibition, to prevent dust, there w is no lack of moisture in the atmo sphere, but there were no fires, and no combustion of gas in the building. On the whole the prints were probably sub jected to ordinary conditions, and time is the only element in considering the matter. We were, however, gratified to find, on a general inspection of the prints in the various photographic departments, that but few signs of change were manifest, the majority of the pictures remaining in excellent condition, quite unfaded. A few here and there were unmistakably yellow and dull; a still smaller number were distinguished by hideous yellowish brown streaks and stains ; but upwards of ninety per cent, appeared unchanged. We had heard it alleged that it was the intention of some exhibitors to supply the places of fading prints with fresh ones, a circumstance which would have interfered with such an estimate as we are making ; but we could not learn that any such exchange had been made. In one instance we examined the exhibited prints with especial interest; we refer to those of M. Adam-Salomon. We had been con fidently informed that there was every reason to believe ho used the old toning bath of hyposulphite of soda and gold, to which circumstance the superior brilliancy and rich ness of tone in his prints was due : and that as his prints were completely retouched, they would, before the close of the Exhibition, present a woful appearance: the whites yellow, the brilliancy gone, and the touches of the pencil rendered painfully apparent by the change of colour in the print. All these rumours as to the use of the old toning bath and the retouching we now know to be untrue; but without that knowledge the prints tell their own story ; the specimens plkced in the Exhibition at the outset hang there at its close, rich and brilliant as at first, unchanged in any respect. So far as the most complete and comprehensive exhibition of photographs ever yet brought together is con cerned, and presents any evidence, the stability of silver prints, from all parts of the world, is not less than might have been desired or anticipated. The consideration of the second question to which we again gave serious attention was the excellence of the photography of England, or rather the photographic portraiture of England, as compared with that of the Continent, again brought us to a much less satisfactory conclusion. Since the question was first mooted at the opening of the Exhibition, and we de clared our conviction that English photographic portraiture generally was not equal to that of many continental nations, that of the French especially, the subject has been eagerly discussed, and in some instances strong opinions have been expressed—with all the impartiality which absence of per sonal knowledge of the subject proverbially gives—-to the effect that the work of English portraitists was not inferior to that of the best of their continental brethren. We are very sorry to bo compelled to combat these notions. Wo would much rather that they were beyond question. But plain truth must be told : we are seriously behind in the race for excellence. Persistence in a conviction that we are up to the mark of attainable excellence is the surest barrier to progress. With a conviction of their inferiority in any point, we believe that Englishmen will strain every nerve to equal or excel their competitors; but with a fallacious assurance that their own work is unsurpassed, they are not likely to make much progress. We feel bound, therefore, with a full appreciation of the technical and artistic excel lence of the works of many of our own portraitists, to repeat our conviction that, as a whole, weare inferior in portraiture to France, Prussia, Austria, Russia, and Poland in some degree, even in technical photographic excellence, and assuredly in artistic feeling aud treatment. We exhibit few portraits which can compete with the groups of Angerer, of Vienna; or with the portraits of Milster, Graf, Wigand, or Loescher and Petsch, in Berlin; or the portraits of Mieczkowski, of Warsaw; or, above all, with the works of the prince of photographic portraitists, Adam-Salomon, of Paris. We return to the works of this gentleman with especial pleasure, because of their unequalled beauty, and because the fullest examination of them with the fullest facilities
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