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

THE PHOTOGRAPHIC NEWS. [July 24, 1891. 534 The mode of studying the varied effects of light and shadow by a lamp placed in different positions with regard to the head and face is a very simple and excellent one. It is open to all who feel sufficiently interested in art to give a few minutes to it, and exemplifies the wonderful effects of light and shadow in either the making or marring of a good human countenance. It may be objected that this mode of lighting is too strong and too exaggerated (and so it would be for refined countenances) to be photographed. Of course we must then have a softer and more diffused light; but the principle is precisely the same, whether it be a soft or a powerful light. It must fall from the proper direction. From centuries past to the present day, and notwith standing the various whims and freaks of fashion, which, arising from a vulgar rage for novelty, are constantly assailing all well-founded truths, it has been the custom in academies and schools of art, and in all galleries purposely constructed for the display of sculpture, to use a lighting that falls at an angle of forty-five degrees, or above, on the sculptures used as models to draw and paint from, and to be exhibited to the greatest advantage to intelligent people. What would we know of the solemn grandeur of the bust of Homer, or of the beauty of the head of the Apollo Belvidere, if we had never seen them properly lighted ? How could we read the various characteristics of the Greek and Roman philosophers, statesmen, and rulers, as we do in the portrait sculptures that have come down to us, did we not have the power of casting a well-arranged lighting upon them? The photographer may say, “ What have we to do with Homers and Apollos and sculpture ; are we not working from and catering to the flesh and blood of to-day?” But I say, Are we not men ? Do we not furnish now as fine specimens of the human countenance as existed in the period of Greek art ? Certainly. We have our great statemen, generals, and philosophers, and alas! they are too often trusting to the camera alone for the perpetuation of their semblance. Possibly no mode can so truly convey to us as can the photographic art the actuality of a countenance. But we must never lose sight of the fact that that countenance, if it be the index to a mind worthy of perpetuation, must be portrayed under a lighting in conformity with the inscrutable laws of nature and of art. We must beg to be pardoned if we speak strongly upon the importance of this matter of lighting in portraiture. During the past few days the subject has presented itself to us more forcibly than it probably has ever done before. One of our most distinguished citizens has just passed away. He stood amongst the few very highest in science of any time or country. Immediately we see large photo graphs of him placed in the windows of some of the photo graphers. They are splendid works as regards technique ; but why should the noble face have been buried in shadow, a harsh line of light cutting down one edge only? Was it ignorance or thoughtlessness on the part of the person who posed this distinguished sitter? He surely had the means in his skylight of letting nature’s illuminat ing rays fall broadly and truly upon this noble countenance, so that the grandeur and dignity which it possessed might have been perpetuated to us to their full extent and value. Those photographers who profess to do only a respectable business should pay more attention than they do to this all-important subject, and we would admonish those who are at the head of leading galleries, and whose duty it daily becomes to affix the images of our greatest men of the day, that they are doing wrong in not making a regular art study of their pursuit. They should secure a few fine casts from the antique, preferably portrait busts, and study them and photograph them under various lightings; see how they may be made to look dignified or mean, grave or ridiculous. You will, no doubt, think it a very easy matter to talk, and especially for one who knows little or nothing about the practical business of running a photographic gallery. There is no one better acquainted with the difficulty of producing a very fine photographic likeness than the writer. It is something which he is constantly striving to do, yet never satisfying himself; and, moreover, he is thoroughly acquainted with the trials to be contended with in catering to an uncultivated public. Our ideas upon the subject of art portraiture could not be put universally in practice. Ignorance and fashion cannot be stormed and annihilated. The mind must be led ; good comes about gradually. What we would have is that the portrait photographer properly and conscientiously prepare himself, as an artist does, for the work that is to be his calling, so that when ever an opportunity occurs to get in some real, good, artistic work, he may do it. By artistic I do not mean what the whim of the day may call artistic, but artistic as founded upon the genuine high art of the past, and the rules of good taste and judgment that have stood the test of ages. Let him, when a distinguished man with a fine forehead comes along, secure one or two admirable negatives of him. The man himself possibly may not like them so well as a commonplace portrait. Never mind; a fine work of art will have been put in existence. At a proper time it may be brought forth. If it should be engraved, it will be spread broadcast, and go down to posterity. When it is looked at in future years, by persons of good taste and sound judgment, they cannot say of it, “ What a pity the abominable fashion of shadow pictures was in when that distinguished man was photo graphed,” or “Pity he did not pose to one who had some artistic knowledge.” But, on the contrary, they may say, “ What a noble head; the man who posed it was truly an artist.” As to the practical details of lighting, all good photo graphers are pretty well provided with the means of securing almost any lighting which they may require. The main points to be looked after are, to have plenty of height, not too much over-head light nor too much side light, and be very wary of any light below the level of the head. Perhaps the greatest difficulty in lighting is to secure the very nice point between too diffused and too concentrated a light. In too diffused a light we have a want of force and breadth of light and shadow, and consequently a want of expression and vigour in the head; and on the other hand, if the light be too much concentrated, there is a harshness and force of character which is not only less agreeable than when a softer light is used, but far less likely to make a portrait that will be as acceptable to the general run of sitters as the soft lighting. The timing of the exposure is of the utmost importance. The correct limit is extremely narrow in the highly sensi tive plates now used in portraiture. An under-exposed plate is worthless. If we over-expose we have a resulting flatness in the picture which, if to be overcome, as it sometimes may, is only at a too great expenditure of time and pains to be admissible in gallery work. In a properly lighted head, with correct exposure and