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January 2, 1891.] THE PHOTOGRAPHIC NEWS. 11 pare with photography in these respects ? I venture to th.nk even less favourably than with monochrome painting. Photo graphy is not specially limited to, nor compelled to emphasise, facts of form. It gives form by means of tone against tone, and that is the best means of rendering it, and its truth of form is unequalled. In regard to tone, it is equal to any other black and white process, not excepting mezzotint, to which, indeed, it is often superior in respect of delicacy of gradation. This, of course, only refers to photography used at its best. We are considering its powers, not the average of its productions. The crude, ignorant workmanship that is so common is no fair test of its capabilities. For instance, let it be admitted there are great difficulties in a large range of subjects in respect of rendering their relative light values, and the ordinary practi tioner very rarely takes any trouble to overcome them. Further, then, every observer knows the perfection of photo graphy under suitable conditions of light as regards transient action and effects, and in nothing more than cloud forms is the delicacy of its tonal discrimination shown. But Mr. Hamerton would say that all this technical perfection—even if he admitted it—is useless, inasmuch as the camera is incapable of what he calls “ idealisation of natural form, emphasis in lines, and concentration of natural light and shade.” These very vague qualities are, to him, the artist's especial and pecu liar work. As I have already treated this matter to some extent, I will here only refer to the etchings in Mr. Hamerton’s book for an example in illustration of my argument. Some of the finest etchings in the work are photographic in character—using photographic in the best sense of giving true tone, drawing, and simple naturalness, without any playing with facts—such, for instance, as that by Rembrandt (“Rembrandt drawing”), those by Lalanne, and in part that by Whistler. Referring to the Whistler etching of “ Billings gate,” Mr. Hamerton notices, with just appreciation, the observant work in the buildings on the quay, and he refers to the harmony in the festoons of the converging cables of the boats as approaching poetical synthesis. I should prefer to call the rendering of these festooned cables a bit of most natural analysis. It is the result of close observation, with a marvellous power of expressing the leading facts exactly as we know them, and as Whistler saw them. The exquisite pleasure that this bit of the drawing gives is due to the natural way in which the impression of ropes forming long curves away from the eye and dipping in the stream is reproduced with a simple touch. In short, it is artistic truth—the truth that the artist wanted, unencumbered with local facts of which he would not be conscious save by scientific examination. This is true imitation, an exact hitting off of the leading fact, a power thought to be easy and mechanical, but one as rare in graphic as in literary art. Photography may never have yielded such subtle and exquisite analysis as this, and as the suggestion of heaving water, but photography has yet to get its Whistlers, and it works in a manner very different from etching. In the same etching it is strange that there should be such evidence of slovenliness and want of observation in the character and the form of the boats, which are egregiously unlike any vessel ever found at Billingsgate or elsewhere. Perhaps this would pass for exaltation of the natural images with Mr. Hamerton, but it would be painful to those educated by observation of the character of the objects. Mr. Hamerton would have conferred lasting credit upon his insight had he, against the rigid prejudices of the time, been able to recognise the just claims of photography, and had he included for comparison in his book, “The Graphic Arts,” an example of photography at its best. Others, at any rate, are now able to see its power for expression of artistic feeling, a power budding under naturalistic influences and a more severe scholarship in the technique of the art. If the power of expres sing artistic impressions by photography is impossible, then must all the work of the naturalistic school of painters be excluded from the pale of graphic art, for theirs is confessedly “ an honest attempt to paint what they see,” and photography, artistically employed, has the same aim. Concerning photographs bearing somewhat the naturalistic character, that is, with truth of tone and suppression of un natural detail, it is no uncommon thing to hear it said, “ Oh yes, they are artistic enough, but they are not photographs.” Such is the domination of conventional views. I believe, indeed, that some of our friends are prepared to accept this view, and we have an ingenious suggestion that as there are painter-etchers so there should be painter-photographers, a name to be accepted, I presume, either on the lucus a non lucendo principle that all painting is rigidly excluded from their plates and prints, or to proclaim that they gladly admit the soft impeachment that their photographs are guilty of looking like sepia drawings. Be that as it may, I will now only say in conclusion that it is such work that has been most instrumental in breaking down the wide-spread prejudice against photography as an essentially mechanical, harsh, and vulgar medium for anything like artistic expression, and that it is in that direction we shall have to look for its elevation to its proper place amongst foremost black and white processes. It is from no mere formula of fuzziness or definition that the best work derives, or can derive, its quality ; but from the acquisition of artistic facts by observa tion and experience—facts of light, the limitations in black and white work, the relation of light surfaces, orthochromatics, relation of objects in respect of focus or mental interest, study of form, action, and typical character, the use and application of lenses, knowledge of the subtleties of development with the relation of exposure thereto, and the study of the qualities of printing processes. This is no question of months, but a matter of years before a man can hope to see clearly what it is he wishes to express, and move freely in expressing his impres sion. We need not be discouraged that unnatural “ exalta tions and combinations are impossible to us. The quality of naturalness will tell in the long run. Men will weary of em phasis, and graphic artists will leave past history, archology, and fiction to literature or scientific drawing. The keenest sthetic pleasure is to be derived from the spirited, truthful rendering of character, whether in face, figure, or landscape. The things of to-day will be of deeper interest to-morrow. As Emerson says “ It is in vain that we look for genius to reiterate its miracles in the old arts ; it is its instinct to find beauty and holiness in new and necessary facts, in the field and roadside, in the shop and mill.” The scope of photography is extended. Nature will never go out of fashion. Prejudice will fade, and even one generation ahead will find the value of photographic portraiture, if it be natural and permanent, as it may be. The prospect is worthy of work, devotion, and sacrifice, and, in our enthusiasm, we may be forgiven for indulging visions of a time when, with Truth and Nature as its watchword still, photo graphy shall have taken to itself such glorious attributes that, with fewer limiting conditions, our every impression of the visible world, light, colour, action, and form will come within its scope to express. The PHOTOGRAPHIC Society.—The next meeting of this Society will be held on January 13th in the Society’s new premises. A paper, which was unavoidably postponed from the December meeting, will be read by Mr. E. W. Maunder, F.R.A.S., on “ Photography Applied to Astronomy,” and Mr. W. England will give a flash-light demonstration. Mr. Cocking having resigned the position of assistant secretary, the Council have appointed Mr. H. A. Lawrance to the vacant position. Mr. Lawrance will take up the duties of the appointment on January 1st, 1891, and from that date members’ subscriptions are to be paid to Mr. H. A. Lawrance, 50, Great Russell Street, London, the Society’s new premises. These are opposite the British Museum, and will be open from January 1st, 1891, between the hours of 2 p.m. and 9.30 p.m. each week-day. After that date all meetings will take place in these premises, unless otherwise notified. The dark room will be prepared for use and the library put in order as soon as possible. No paper will be read at the anniversary meeting on February 10th, 1891, which will be devoted to the consideration of the report of the council, the election of a new council, and other general business. Members who wish to raise any question as to the management of the Society are requested to bring the matter forward at the anniversary meeting.