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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
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- 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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- Bandzählung
- No. 1711, June 19, 1891
- Digitalisat
- SLUB Dresden
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Zeitschrift
The photographic news
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Band 35.1891
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Band
Band 35.1891
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- The photographic news
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June 19, 1891.] THE PHOTOGRAPHIC NEWS. vessel P is of peculiar construction ; it is a cylindrical vessel of sheet iron, with a ring in the bottom, which serves as a support for the cylinder, L. This cylinder is of woven wire, and is filled with coarse-grained animal charcoal. To use this apparatus, the stopcock G is opened, which allows the varnish in F to flow into P, where it is decolorized by the animal charcoal. From this it passes immediately into the filter, and the finished article is collected in A. The arrangement of the entire apparatus is such that, should it become neces sary, the filtering material or the animal charcoal can be changed in a short time, and, at the same time, any loss by evaporation is prevented. {To be continued.) RUSTIC LIFE STUDIES.* BY J. J. THORNTON. Much has been written by eminent writers on nearly every subject of photographic art, with the exception of the rustic life class; and I may, by way of preface, say that I am somewhat surprised that so few students in pho tography apply themselves to this class of work. But however my praises and enthusiasm of it may at first seem to denote that I have given exclusive attention to it, yet I am the last one to depreciate the other branches; there is plenty of scope in all classes, and all require taste and skill; but still I contend that the figure study class is one of the most difficult and highest forms of the art It is sometimes contended that photography is merely a science and not an art, and in Bohemian circles the appellations would have been treated with derision; but this idea is both false and erroneous, and is gradually dying out, for the beauty and success of photographic specimens is due to the artist, and not to the apparatus and material which he has at his disposal. For instance giving the same advantages to two operators, one may be found to have produced a decided failure, while the other, with the selfsame medium, will be able to show you a picture with true artistic feeling and admirable effect. But to return to our subject, viz., figure study, which is already pronounced to be the most fascinating form of the art. To achieve success it requires to be studied intellectually, and closer observation is also necessary if the object in view is a true representation of a pleasing picture. It is not my intention to supply a form of practical rules, but merely give a few hints (from my own experience) to those who have not yet given any attention to this class of work. In the first place, if you have not naturally a taste for this subject, you should endeavour to acquire an interest yourselves in the fine arts; not only admire them, but study them minutely, for those who do not commence from the beginning will never derive the full benefit of the pleasure which this art affords to those who do. A thoroughly good camera, with all the latest ingenious improvements and eccentric movements, and a first-class lens with iris diaphragms, are no doubt of invaluable aid ; but the secret of success is in the selection of your models and arrangement of them. In landscape photography, happy thoughts may be made almost anywhere. The old thatched cottage overgrown with moss, the winding brook, the glassy lake, the park, the woodland glade, and the shady pool reflecting the majestic * Abstracted from a paper read before the East Southsea Photographic Society. trees—all these are subjects of captivating loveliness and picturesque beauty. But you cannot so easily pounce upon models for your figure study subject. Pictures depicting rustic life always afford much admiration and satisfaction on account of the peculiarities and oddities of their dress, and their careless and simple habits. For these you must visit villages, hamlets, farmhouses, and cottages; get on a friendly footing with the villagers, converse with them and study their customs, their manners, and their humours. The most retired neighbourhoods produce the best subjects. There are many quaint villages of this description in the neighbourhood of Southsea, and which are very little explored by the photographic artist, although, strange to say, you will frequently meet with artists with canvas and brush in these picturesque parts; and for old world customs and primitive simplicity, there is no place better to find your models. A very good study is that of a characteristic aged female (being, we are told, in her eightieth year) at her cottage door, whose face is rugged and marked with strong lines. In one of the rudest and poorest habitations we have a girl, slatternly and poorly clad, reclining idly against a water tub, with a listless indifference as to the present, past, and future, quite contented with her native place, and devoid of all curiosity. The boys of the village are generally to be seen paddling in the water, playing with boats, cutting sticks, throwing stones into the water, or very often engaged in a free hand-to-hand fight; always up to some kind of mischief, the younger girls and the smaller fry looking on with supreme delight. An infirm old woman has given her pail to one young rascal to fill for her with water, and on her requesting its return, he impudently looks up and asks her if “ she will have it now, or wait till she gets it.” Of course this is very tantalizing to her ; but she can only retaliate by telling him that she will tell his mother, a threat which need hardly be said is treated by the young imp with laughter and derision. “ Washing day” is a busy day in the village, when the “ young ladies ” are reluctantly compelled to assist their mothers, much to their disgust, when playing would have been more preferable. Wending your way towards the beach, one of the best studies is the fishermen—strong, robust, healthy men, dressed in blue-coloured jerseys and huge leather sea-boots reaching up to the thighs, the soles studded with heavy iron nails, and oilskin sou’wester worn the front part to the back of the head. They are by no means lazy, for when not engaged in fishing, their time is occupied in mending their nets and repairing and painting their boats. At other times they may be seen lounging about the har bour, in parties of two. or three, and each of them accom panied with his short pipe. But the most charming model of all is the skipper’s daughter, a most interesting and amiable child, bright, cheerful, animated, and the favourite of the village. Many of the villagers are, of course, in keeping with their homes and their manners, rather uncouth, but still a hearty welcome is ready to the visitor, provided that permission is in the first place obtained. You will find them very cleanly, and, judging from the freshness of their complexion, and the robustness of their figures, they may be deemed a very healthy lot of people. There is, therefore, nothing objectionable in mixing with them and encouraging them in their various occupations and enjoyments, for prelimin- ary attentions and study must be given to them before attempting to realise them by photographic means. Hav ing endeavoured to put models of various kinds before you,
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