Suche löschen...
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
- URN
- urn:nbn:de:bsz:14-db-id1780948042-189100009
- PURL
- 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
- Strukturtyp
- Band
- Parlamentsperiode
- -
- Wahlperiode
- -
- Bandzählung
- No. 1722, September 4, 1891
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
- -
-
Zeitschrift
The photographic news
-
Band
Band 35.1891
-
- Ausgabe Ausgabe 1
- Ausgabe Ausgabe 17
- Ausgabe Ausgabe 37
- Ausgabe Ausgabe 57
- Ausgabe Ausgabe 77
- Ausgabe Ausgabe 97
- Ausgabe Ausgabe 117
- Ausgabe Ausgabe 137
- Ausgabe Ausgabe 157
- Ausgabe Ausgabe 177
- Ausgabe Ausgabe 197
- Ausgabe Ausgabe 217
- Ausgabe Ausgabe 237
- Ausgabe Ausgabe 257
- Ausgabe Ausgabe 277
- Ausgabe Ausgabe -
- Ausgabe Ausgabe 313
- Ausgabe Ausgabe 329
- Ausgabe Ausgabe 345
- Ausgabe Ausgabe 361
- Ausgabe Ausgabe 377
- Ausgabe Ausgabe 393
- Ausgabe Ausgabe 409
- Ausgabe Ausgabe 425
- Ausgabe Ausgabe 441
- Ausgabe Ausgabe 457
- Ausgabe Ausgabe 473
- Ausgabe Ausgabe 489
- Ausgabe Ausgabe 505
- Ausgabe Ausgabe 521
- Ausgabe Ausgabe 537
- Ausgabe Ausgabe 553
- Ausgabe Ausgabe 569
- Ausgabe Ausgabe 585
- Ausgabe Ausgabe 601
- Ausgabe Ausgabe 617
- Ausgabe Ausgabe 633
- Ausgabe Ausgabe 649
- Ausgabe Ausgabe 665
- Ausgabe Ausgabe 681
- Ausgabe Ausgabe 697
- Ausgabe Ausgabe 713
- Ausgabe Ausgabe 729
- Ausgabe Ausgabe 745
- Ausgabe Ausgabe 761
- Ausgabe Ausgabe 777
- Ausgabe Ausgabe 793
- Ausgabe Ausgabe 809
- Ausgabe Ausgabe 825
- Ausgabe Ausgabe 841
- Ausgabe Ausgabe 857
- Ausgabe Ausgabe 873
-
Band
Band 35.1891
-
- Titel
- The photographic news
- Autor
- Links
- Downloads
- Einzelseite als Bild herunterladen (JPG)
-
Volltext Seite (XML)
September 4, 1891.] THE PHOTOGRAPHIC NEWS. 623 under a keener nervous strain than the sitter can under stand, unless he or she is a camerist. I have learned to have the warmest sympathy for pro fessionals, and when I hear people say “ it is so tiresome to sit for a picture,” always wish to say “ yon don’t begin to endure what the operator has to, and your work is over with the sitting ; he is the one to be pitied, and not you.” The possession or lack of the true histrionic instinct of forgetting self in an assumed character is at once revealed by the model when the operator disappears under the mysterious cloth. When only the keen-eyed lens confronts the sitter, it seems, to nervous persons, as a friend once said to me, as if the aforesaid eye was gazing into one’s very conscience. The average sittter, whether willing to acknowledge it or not, is intensely self-conscious, which is the true name for what they like to call nervousness. They should, for the time being, merge Miss A or Mr. B in an assumed character, and it is a discouraging truth that if they cannot do this the picture will be a failure, no matter how fine the conception. Sitter and operator ought to be in perfect accord, and I do not find that there is much to choose as between men and women in sharing the above blame ; one is no more self-conscious than the other. Sometimes, indeed, models are so willing to please that they wish you to arrange every finger joint, or suggest to them the exact shade of expression needed, generally at the very moment you are placing the holder in the camera, or drawing the slide. I do not know which is the more difficult to manage. The operator who poses the figures and designs the pic tures should have nothing to do with the petty details of filling holders, placing them, drawing slides, and moving things into position. The mere physical fatigue dampens one’s enthusiasm, and it is absolutely important to have the nerves under control, and not be conscious of one’s body. I have said little about technical details or studio appli ances, deeming that that would, indeed, be bringing coals to Newcastle, but would like to speak of a few points which have proved practically useful to me. No illustra tive work should be undertaken with any but the best lens. A rapid rectilinear is, generally, preferable, but a wide-angle is often absolutely required, and I believe in either case in having it able to cover a larger plate than the one used, cutting sharp with full aperture. The studio scenery ought to be, as far as possible, in real, not simu lated, relief ; plastic, not painted. This allows the figures to be more naturally posed, and not so apparently on a line. Most of my scenery can be taken apart and re adjusted,so that when used with different draperies,carpets, and furniture, it will form a number of combinations. With regard to the skylight, I have continuous sheets of ribbed glass, a little over an eighth of an inch thick. This is covered by five sets of white shades, divided into half yard pieces running on wires from side to side. Over these are three sets of black shades divided and run the same way. The shades on the vertical light slide up and down. I use an ordinary view camera, as, with double holders, it permits more plates being ready before com mencing work, and this is likely to save much time and trouble. Competition and exchange of ideas such as this present Convention, when used for the purpose of self improvement and not mere display, ought to be of incalculable benefit, and the inspiration gained by the attrition of different minds constantly raises the standard of photographic progress. In illustrative work amateurs and professionals can labour side by side, and each gain from the other. The former will learn to appreciate the almost infinite tact, patience, and hard work demanded of a professional, who, on his part, will learn that the intelli gent amateur helps to elevate the work to which he him self has perhaps given the best part of his life, and thus, by mutually disseminating a wider and clearer knowledge of photography, gain for it more thorough appreciation and admiration. GLASGOW INTERNATIONAL PHOTOGRAPHIG EXHIBITION. List of Awakds. GOLD medal for special excellence, H. Van der Weyde. Professional.—Class 1—Portraits (whole-plate and over); silver medal, W. M. Warnerke ; bronze medal, W. W. Win ter ; extra bronze medal, G. Greiil. Class 2—Portraits (undef whole-plate), silver medal, H. Baker ; bronze medal, W. J. Byrne. Class 3—Enlargement (portraits only), silver medal, H. Van der Weyde ; bronze medal, T. and R. Annan and Sons. Class 4—Enlargement (other than portrait), silver medal, Alexander Brothers ; bronze medal, T. and R. Annan and Sons. Class 5—Lantern slides, silver medal, G. W. Wilson and Co. ; bronze medal, West and Son. Amateur.—Class 6—Portraits (whole-plate and over), silver medal, Prince Ruffo ; bronze medal, C. B. Moore. Class 7— Portraits (under whole-plate), silver medal, no award ; bronze medal, W. J. Jenkins. Class 8—Enlargement (portrait only), silver medal, no award ; bronze medal, W. H. Kitchin. Class 9—Enlargement (other than portrait), silver medal, R. H. Elder ; bronze medal, W. S. Anderson. Class 10—Lantern slides, silver medal, J. E. Austin ; bronze medal, A. Watson, A. Pringle. Class 11—Landscape (whole-plate and over), gold medal, D. R. Clark ; silver medal, H. P. Robinson, A. H. Hinton ; bronze medal, J. G. Pratt. Class 12—Landscape (under whole-plate), bronze medals, J. A. C. Ruthven and Mrs. Janie N. Hignett. Class 13—Marine and clouds, silver medal, no award ; bronze medal, C. Millard. Class 14 —Animals, silver medal, J. Catto ; bronze medal, C. Reid. Class 15—Out-door groups, silver medal, Karl Gregor; bronze medal, F. Bremner. Class 16—Architecture, silver medal, no award ; bronze medal, C. V. Shadbolt. Class 17 —Interiors, silver medal, C. Court Cole; bronze medal, W. J. Byrne. Class 18 —Still life, no award. Class 19 —Flash-light, silver medal, John Stuart. Class 20—Instan taneous, silver medal, W. S. Anderson ; bronze medal, H. Symonds. Class 21—Hand-eamera (seaside and marine), silver medal, J. W. Wade; bronze medal, A. Watson. Class 22— Hand-camera (other subjects), silver medal, W. S. Anderson ; bronze medal, R. H. Elder. Class 23—Stereoscopic trans parencies, silver medal, W. S. Anderson ; bronze medal, F. McKenzie; Class 24—Genre, silver medal, H. P. Robinson ; bronze medal, J. Terras. Class 25—Scientific, silver medal, R. Kidston ; bronze medal, W. H. Howie. Champion class.—Portraits—Gold medal, W. Crooke ; other than portraits — Gold medal, L. Sawyer. Lady amateurs’ class, silver medal, Mrs. B. G. Bennetto ; bronze medal, Mrs. J. N. Hignett. Silver medals awarded for exhibits of special merit —R. W. Robinson, Countess Loredana da Porto. Photo-mechanical section—Silver medal, Boussod, Valadon, and Co.; bronze medals, Richard Paulussen, T. and R. Annan and Sons, Photo-chrome Engraving Co. of New York, S. B. Bolas and Co. Apparatus—Bronze medals, W. Middlemiss, George Mason and Co., James More and Co., J. Lizars, W. Watson and Sons. A PHOTOGRAPHIC Actress.—Mr. Henry Irving and Miss Ellen Terry, says the Echo, are now staying at North Deal. Miss Terry, it is not generally known, has mastered the art and mystery of photography, and, fortified with a camera, the most popular of actresses relieves the monotony of her professional “ rest ” by turning her lens upon every agreeable object within view. While Mr. Irving strolls along Deal Beach, Miss Terry is taking the likenesses of Deal boatmen. She manages her plates and black bag like an old photographic hand.
- Aktuelle Seite (TXT)
- METS Datei (XML)
- IIIF Manifest (JSON)