The photographic news

• Bandzählung: 35.1891
• Erscheinungsdatum: 1891
• 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-id1780948042-189100009
• PURL: http://digital.slub-dresden.de/id1780948042-18910000
• OAI: oai:de:slub-dresden:db:id-1780948042-18910000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

February 6, 1891.] THE PHOTOGRAPHIC NEWS. 109 THE ENFIELD PHOTOGRAPHIC EXHIBITION. Last Saturday afternoon the Photographic Exhibition of the Enfield Camera Club was opened, and in the evening a display of slides took place by means of the magic lantern. There was a good attendance on both occasions. With one or two exceptions, all the photographs exhibited were the work of the members, and of the more interest to their friends, the visitors, on that account. Among the best pictures on view were those by Mr. II. F. Knight, including views in Cumberland, seascapes, and other subjects. Some specimens of home portraiture, and views of Ely Cathedral, by a member whose modesty did not permit him to attach his name thereto, were of merit. Mrs. Henry Bowles exhibited a good photograph of a couple of swans, vignetted, but the background was not one well suited for a vignette picture. Among other exhibitors were the Graphotone Co., Messrs. W. Street, R. B. Lodge, W. H. Fellows, G. D. Pinkney, A. J. Ran some, S. James, V. Clements, F. Cresswell, J. Dudin, H. W. Stocks, and W. J. Biggs. Of course, with a pro portion of new amateurs and a somewhat newly-formed club, some of the pictures mixed up with the good ones in the exhibition were chalky, others flat, and others with out natural clouds; but the gathering was a friendly and social one, not intended for much outside criticism, and it gave pleasure to all who attended. In opening the proceedings, Mr. G. D. Pinkney, the president of the Enfield Camera Club, said that the organisation had been established for about nine months by a few individuals in the neighbourhood who were interested in photography. The Club held fortnightly meetings, at which papers were read, demonstrations given, and mutual information afforded. The Club had ladies among the members, and two of them were exhibitors. Captain Henry Bowles, M.P., stated that he had great pleasure in attending to open that exhibition of works of art produced by residents in Enfield and its neighbourhood. He had a little to do with photography himself, because his wife had taken to pl ying with the subject, and he was the poor victim. He felt afraid, to attend a meeting like that, lest somebody should be taking shots at him by means of a button hole camera. Of late years photography had made great strides ; it had produced wouderful pictures for the weekly papers and for one issued daily, so that people at a distance could gain a better idea of passing events ; it had also been of great help in different branches of science. The medical pro fession, by its aid, obtained pictorial records of interesting cases, and astronomers had made great discoveries by means of photography, although once or twice it had led them astray, and produced two stars where there had really been but one. Photography had been much advanced by amateurs, for new discoveries were more likely to be made by those who followed it for pleasure than by those who pursued it more in beaten tracks as a business. He congratulated them upon their exhibi tion, and had pleasure in declaring it to be open. Dr. F. Cresswell remarked that Mr. Bowles had spoken of photography as a science, but the members also wished it to be artistic, and that was one of the chief reasons for the recent formation of numerous clubs and societies all over the country. After a few remarks from Mr. J. Dudin, those present proceeded to inspect the photographs. Colouring Brass. —A steel colour is developed on brass by using a boiling solution of arsenic chloride. A concentrated solution of sodium sulphite causes a blue colouration. Black, as on optical instruments, is obtained from a solution of plati numchloride, to which tin nitrate has been added. In Japan, brass is bronzed by using a boiling solution of copper sulphate, alum, and verdigris.—Invention. THE WATER-COLOURS EXHIBITION AT PALL MALL. The Gallery at 5a, Pall Mall is, in the minds of many photographers, so intimately connected with the yearly show of the Photographic Society, that seeing those walls covered with rainbow tinted water-colour drawings comes to some almost in the light of a revolution. This is, however, a limited and photographic view of the matter. The Royal Society of Water-Colour Paintings has now on view its twenty-ninth winter gathering, and an interesting and instructive collection it is. Close by the door we find (No. 2) “ The Valley of the Mawddach,” by G. A. Fripp, a picture of considerable merit, warm in colour, broad in treatment, without excess. Close by is the first of many from the brush of Birket Foster, viz., (No. 6) “ On the Rocks, Arisaig ”; others from the same brush are (No. 49) “Isle of Rum,” (Nos. 74 and 82) “Crofters’ Cottages with Children,” (No. 95) “Waiting for the Boats,” a charming picture, (Nos. 154 and 178) “ Children and Cottages ” ; but among them all, let the photographer carefully study No. 95 for composition, gradation, harmony, and design. No. 13 is a large, clever picture, “First Breath of Autumn,” T. Lloyd ; possibly the thistle-down is a trifle heavy and solid, but the general result is decidedly good. No. 18, “ White Cottage,” is of the out-of-focus order, and is more curious than beautiful. No. 26, “Gate of Justice, Alhambra,” E. A. Goodall, is a valuable lesson to photographers in the matter of transparency with quiet detail in the shadows. It is the black, solid, heavy shadows of the ordinary photograph which so much offend painters. Nos. 23 and 42 should be noted as approaching somewhat in this direction ; they are of what is sometimes called a blot-esque tendency. Sir John Gilbert’s study for a larger picture (No. 30) is interesting. No. 37, “Sculling,” F. Powell, is a fine study in cloud reflection in water, a result difficult to attain in the camera. No. 46, “Loot,” C. Robertson, is ‘ ‘ very fine and large, ” a foreground with a superabundance of properties highly coloured. Another large picture (No. 56), “ Haymaking,” by A. Hopkins, has some fine parts, but the figures are rather wax-like in complexion as compared with ordinary haymakers. No. 70, “Low Tide,” is an example of how to select a point of view and “make a picture out of nothing.” No 81 is called “ Scotch Fishing Boats,” and is a view of Whitby Har bour; the only boats with harbour marks visible are N.S. (North Shields) and Hl (Hartlepool.) No. 88 is an ex ceedingly clever study of cattle and snow; No. 116, another of C. Robertson’s clever oriental pictures. No. 110 is a cloud study of the rough style : No. 118, “ Sand hills,” and interesting to photographers as being rather a fashionable camera subject last year. Nos. 129 and 175, pastel portrait studies, which show the effect of having the head “ too high up on the plate.” Henry Moore’s “Prawners” (No. 142) is not so pleasing as some other of his handiwork, but close by is the gem of the show (No. 144), “Venice,” by Miss Clara Montalba. The picture is a poem, or rather a beautiful dream of air, light, water, all palpitating with a mysterious life ; note how the colours have been massed and grouped. From the same brush we have some others, No. 258, “Riva,” No. 343, “Grand Canal,” No. 367, " Rialto,” and No. 292, a glorious flood of golden light, such as would have filled the soul of Turner with joy. No. 151, ‘ ‘ Lower Valley of