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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
- Lizenz-/Rechtehinweis
- Public Domain Mark 1.0
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- urn:nbn:de:bsz:14-db-id1780948042-189100009
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- http://digital.slub-dresden.de/id1780948042-18910000
- OAI-Identifier
- oai:de:slub-dresden:db:id-1780948042-18910000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Parlamentsperiode
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- Bandzählung
- No. 1688, January 9, 1891
- Digitalisat
- SLUB Dresden
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Zeitschrift
The photographic news
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Band
Band 35.1891
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- Titel
- The photographic news
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January 9, 1891.] THE PHOTOGRAPHIC NEWS. 19 finer type than those of which we have been speaking. Many of our readers must have- seen, at recent exhibi tions of photographic apparatus, the beautifully modelled cabinets, old iron and stone work, and fireplaces which, compounded of canvas and plaster, and touched up in monochrome by an artistic hand, are so effective when photographed. There is nothing staringly offensive or aggressive about these things—no hard high lights or deep shadows—so that they retire, as it were, from competition with the living figure which is placed in front. So it is with the modern well-painted back grounds which are now purchasable. The designs have nothing staring about them, and are rather suggestive of the presence of things than assertive of their existence. In this way a door, a window, or a mass of trees may give attraction to a picture which, without them, would be cold and bare. In backgrounds and accessories the art of portraiture has ce-tainly pro gressed, and good workers now well underst tnd that it is a part of their business which must not be neglected OUR BROTHER THE CRAB. [A Photographic Revelation.] BY JAMES MEW. Years ago, when the lines dividing the wrong and the right use of a detective camera were somewhat blurred and indistinct, a suggestion was made touching the pos sible publication of a volume of incidents in court, politi cal, and social life, compiled by the agency of this in genious instrument for the delectation of the fashionable world. It was urged—and so far, indeed, with truth— that the most interesting records of contemporary events, such as those well known of Pepys and Hutchinson, of Clarendon and Bishop Burnet, of the Duc de Saint Simon and Philippe de Comines, which have appeared in letter press only, would pale their lambent and comparatively ineffectual fires before the rising day-star of a book illus trated by photographic aid, with the exact attitudes and appearances of the important personages it describes. If you will take at random a page of " Greville’s Me moirs,” the value of this suggestion may be rendered more clear. “I went,” he says, April 8th, 1832, “the other night to see Sheridan Knowles’ new play, The HunMack. Very good, and a great success. Miss Fanny Kemble acted really well; for the first time, in my opinion, great acting. I have not seen anything since Mrs. Siddons (and perhaps Miss O’Neill) so good.” How much of life could be put into this simple statement by a photographic accompaniment, showing to our eyes Miss O’Neill, Mrs. Siddons, and Fanny Kemble as they appeared to his, may be safely left to the estimate of any intelligent reader. The enterprising amateur photographer who will trouble himself to keep a diary, political or social, religious or scientific, and to illustrate it with judgment, and taste, and skill by the aid of his camera, will have no reason hereafter to regret, in this respect, a waste of labour, of money, or of time. A photographic Greville would, unless unequal fates opposed his way, be equally sure of fame and fortune. But it is with a photographer of animal portraits that the present article is immediately concerned, and for him the time is now ripe. A knot has been tied worthy the interven tion of such a god, and all appliances are his to boot. Stu pendous chemical compounds await his beck and call There was an old woman, so runs a tale, of which, since we cannot all know all things, some of the readers of the Photographic News may be yet wholly unacquainted, who, on being asked her opinion of a new preacher, ex pressed her dissatisfaction with the clean shaven youth who had, with due dignity of deliberate movement, ascended for the first time the steps leading to the pulpit of her small village church, and expounded therein the way of salvation to the patient congregation below. Being asked for what reason she held the young man in little esteem, and why she preferred her late pastor to her present, she replied that the latter had never once, in the whole course of his sermon, mentioned that blessed word “Mesopo tamia,” which was so familiarly frequent in the sermons of his predecessor, and had on so many occasions given her spiritual consolation of no little strength in her hour of trouble. As this blessed word acted upon that old woman in the production of ghostly satisfaction and internal peace, so may some other words lately begotten of him who was the father of eikonogen compel reverence in the bird- witted folk who sit in the seat of the scorners to deliver judgments on photography all day long. Hardy, indeed, and fortified by a shield of triple brass, must be the soul of that person who would dare to speak lightly—or indeed, to speak at all, in public—of those new compounds by which a negative may be developed quickly or slowly, as the operator wills; of dioxynaphtalindisulphite, and its twin brother naphtohydrochinonmonosulphite. If the use of these agents is at all proportionate to the greatness of their names, our photographer of animal portraits may commence the business which will be suggested to him further on with supreme confidence in a successful result. Mr. Ruskin and others seem to think—it is difficult to speak precisely in this matter—that a landscape, how ever fair, ceases to be so when photographed, unless figures of humanity are introduced. “ Where humanity is not, and was not, the best natural beauty is more than vain.” Such is the dictum of the great master. A critic gives as an instance of opposition to this sentence the celebrated Taj Mahal, at Agra. This instance hardly complies with Mr. Ruskin’s conditions. Humanity cer tainly was where this building is; and the chief feature in the picture of the Taj would not be natural in the or dinary sense of that word, but artificial. Neither the instance of a mountain peak, nor of a rolling sea, comes necessarily under Mr. Ruskin’s rule, for humanity may have been on the top of both. Probably the idea of the artistic philosopher is, when simply expressed, little more than this, that photographs of wild nature are idle without human figures. But to assert this is to assert a great deal. The position may in some measure claim Milton’s support. More,weknowfrom that poet,than the sight of vernal bloom or summer’s rose, and more than any vision of flocks or herds, is the sight of the human face divine. To behold this in storm or sunshine, lurid with the scowl of envy, hatred, malice, and all uncharitableness, or brightly beam ing with good humour, amiability, generosity, and love, is that after which the world of humanity mostly hankers. Many of our noted novelists have given in words a vivid portrait of the darker passions of mankind. It remains for the photographer to give a precise pictorial facsimile of the effect of these evil passions on the face. Unfortunately, it is difficult to find a man, and still more difficult to find a woman, who would consent to have a
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