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The photographic news
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- 35.1891
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- 1891
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1694, February 20, 1891
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The photographic news
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[February 20, 1891. writer in the Quarterly (who has probably not seen) “there is little of art to be seen in the past history of photography.”* I give these examples to show that great painters did not always strive after making their sitters “ doing something,” and looking away from the ! camera ; that they, in fact, frankly accepted the situation, and painted the man as he was—that is, standing for his portrait. Now let us examine the practice of one or two other portraitists. The next of my examples in order of date is Sir Peter Lely. All will acknowledge that his art was greatly inferior to that of the painters I have mentioned, lie usually represented his sitters occupied with some employment, never at rest, and as often as not as some- | body else. For examples, see his celebrated portraits of | CharlesH.’s beauties at Hampton Court, “Princess Mary as Diana,” and many others. Here we have action enough and to spare, but it is very artificial and make-believe. Then we come to Sir Joshua Reynolds and his contem poraries, great men in English art, especially portraiture. When they posed their sitters easily, and simply painted them, using, however, their knowledge of art in the posing, they made great pictures, which are the envy and admira tion of the painters of the present day, and the choicest possession of the millionnaire ; but when they went beyond this, and set their figures to work, the amount of action they gave them was the measure of their failure. Excep tion must be made in favour of such slight action and occupation as is shown in the wonderful portrait of “ Lord Heathfield with the Keys of Gibraltar,” by Sir Joshua, but when it extends to the amount visible in a picture by the same great hand in “The Graces Decorating a Terminal Figure of Hymen,” in which three healthy young English women are posing in affected attitudes as mythological young persons for the purpose of having their portraits painted, the dignity of “doing something” is doubtful. So it will be seen that there are examples of great painters working in both directions, and that some have erred in the direction of common-sense, and, painting a portrait as a portrait, have found stiffness ; others, trying to escape the prosaic, deviating into what they thought was grace, gave their sitters a motive—and failed. The moral of all this is, that photographers did not in vent stiff attitudes or bathos; the lesson is, that when photographers take a portrait they should accept facts, and understand that their duty is to produce a present ment of the individual—this should not prevent the pose being free, easy, and natural—and that when they attempt to do more they must beware of artificiality, affectation, and bathos. London and Provincial Photographic Association.— February 26th, technical meeting ; March 3rd, lantern and musical entertainment, with brief interlude consisting of a demonstration of the polarisation of light; March 5th, pictorial composition, illustrated by the lantern ; March 12th, lantern night. * It is curious and amusing that some photographers who have taken up photography comparatively recently seem to know so little of the history of the art that they think, or, perhaps, only assume, that its claims as art is a new idea, and have only been seriously,made (with examples t) in their own time, and by themselves. Even Mr. Davison— who is not usually a jocular writer in his lecture at the Society of Arts, says of photography: " In regard, however, to its own direct claim to be admitted as a means of artistic expression, it has only happened with the introduction and applica tion of these principles (naturalistic) that any seiious demand to be recognised in the domain of art has been made.” This apparent ignorance is another example of make-believe, for I credit the writer with more exact knowledge—to say nothing of these same principles having been renounced as unsound by their originator. PHOTOGRAPHY IN THE ORDNANCE OFFICE* BY COL. SIR CHARLES WILSON, K.C.B., K.C.M.G., F.R.S. Up to 1853 all Ordnance Survey maps were engraved on copper; but in 1854 lithography was adopted for the bo and 2360 scales. This was soon displaced by zincography, which has in turn, since 1889, given place to photo-zincography. The art of printing a line photo graph in permanent ink from a zinc plate, or photo-zinco graphy, was discovered in 1859 ; but, excepting for the reproduction of national MS., no practical use was made of the discovery until 1881, when the process superseded engraving for the production of the 6-inch map. To obtain the full advantages of the process, the MS. s' w plans were drawn in a style suitable for reduction, i.e., the buildings were coloured yellow to reproduce black, and the names, ornaments, and numerals were exaggerated so that their reduction might be of the proper size. This arrangement had its disadvantages. The a%0, or parent map, still continued to be published by zincography, and was really sacrificed to its offspring, the 6-inch map, which was published months in advance of its parent. It also ruined the drawing which was for merly so much admired, for the draughtsmen, realising that their efforts were only directed to the preparation of a groundwork for a mechanically reduced map, lost inte rest in their work. In Ireland, however, where photo zincography has never been introduced, the MS. plans continued to be very beautiful works of art. Photo zincography has now been adopted for the publication of all new plans on the bu and 27 scales, with the follow ing advantages : Fidelity of reproduction of the original; saving of cost in the case of close work ; acceleration of publication ; uniformity of execution ; great improvement in the style of original drawing ; and facility in revising town plans. The parent plan has also resumed its proper place in the publication in advance of the 6-inch map. The photo-zinco process is so well-known that I need not describe it here, except to point out the larger scale upon which photo-copying is being carried out by the Ordnance Survey Department. The glass plates measure 45 by 30 inches, and weigh 33 lbs. The paper used for the photo transfers is Evans’ thin paper ; and it might be thought that a system of photographic reproduction, based on a flimsy paper transfer, would introduce many elements of inaccuracy. In practice, however, the process is found to compare favourably, as regards accuracy, with zinc etching methods, and engraving on stone or copper. Impressions varying more than one-sixth per cent, from the true scale are now cancelled. This result is very largely due to the skill that has been acquired by the pho tographic and printing staff. The following method has recently been adopted for producing the mo plans of large towns from the 63. plans:—A convenient number of 63o plans is pinned together, and a negative of the reduction obtained in the usual way. From this negative a cyanotype print is obtained, the result being a pale blue image on a white ground. The necessary drawing is now proceeded with on the cyanotype, and, when complete, it is fixed in its proper position with the surrounding „ A o detail, and then re-photographed for publication. The maps are now printed by a specially designed steam * A portion of a paper on “Methods and Processes of the Ordnance Survey,” read last Wednesday night at the Society of Arts.
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