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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
- 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
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Parlamentsperiode
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- Wahlperiode
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- Bandzählung
- No. 1724, September 18, 1891
- Digitalisat
- SLUB Dresden
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- Ausgabe
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- Wahlperiode
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Zeitschrift
The photographic news
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Band 35.1891
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656 THE PHOTOGRAPHIC NEWS. [September 18, 1891. Motts, Sulphide of ammonia is a compound which was happily better known to a past generation of photographers than to those of to-day, its chief use being for intensifying wet plate negatives. We say happily, for the smell of the compound is of such a terrible nature, hovering between the odour of ammonia proper and eggs of advanced de composition, that it is not a very pleasant thing to handle. We remember, some years ago, at a political meeting, some rascal quietly emptied a bottle of the mixture on the floor, a proceeding which quickly dispersed the greater part of the audience. We note that the suggestion was made the other day to the Paris mob that small bombs filled with the liquid should be used in the Paris Opera House on the occasion of the production of Wagner’s “Lohengrin,” but we are glad to learn that this mischievous advice was not acted upon. Some months ago, when the automatic photographic machines first made their appearance, we were asked whether this new form of labour-saving device would not have a very disastrous effect upon the interests of photo graphers. We replied that our correspondent need be under no alarm, and briefly gave our reasons for thinking so. Our views were speedily borne out by the failure of the machines, except under expert management, to fulfil the promises made for them by their godfathers and god mothers—the general newspapers. (The photographic press, it will be remembered, was carefully excluded from the invitations issued by the Company to see the machines at work.) But it would seem that, although there is nothing to fear for the present from any automatic bogey, there are photographers who undertake to work at such ridiculously low prices that they must exercise a bad influence upon business generally. As an example of this, we refer to the contents of a card placed prominently in a photo grapher’s window which we have seen this week, and have copied verbatim. We do not give the name or address, for we do not care to advertise one who works at such cutting prices. “C.D.V., three for one shilling; six for two shillings ; or twelve for four shillings.” To make a negative and to print from it three positives for a total sum of one shilling, including retouching, spotting, and mounting, cannot, we should imagine, leave much margin for profit. And we need hardly say that the specimens shown were not very grand examples of photographic art. Possibly the secret of the mystery may be found in the contents of the other window of the shop in which they were exposed, which contained an assortment of the articles usually found in a small grocery store. The camera may be used as a bait to secure customers for tea, sugar, bacon, and candles, and perhaps the enterprise may pay in the long run. For all this, such a lowering of the art is to be much deplored. The aid of the newspapers as a medium for puffing is once more exemplified in a paragraph going the rounds to the effect that somebody has discovered that, by placing a card covered with Balmain’s luminous paint in a camera, a phosphorescent picture may be produced. This “new discovery” is as old as the hills, and such luminous pictures have been produced not only in the camera, but by a short exposure behind a transparency. If we mistake not, portraits on glass backed by a phosphorescent surface were introduced commercially at least ten years ago. What a pity it seems that modern workers will not read up the history of what has already been done, so as to save themselves the trouble of re-inventing old ideas. Our enterprising contemporary, Woman, is giving portraits of its readers drawn from photographs submitted to its professor of physiognomy for delineation of character. We have nothing to say against the idea, but should much like to know the meaning of the following guarded observations. “ Unfortunately,” says the editor, “photo graphy is a fickle and uncertain agent. It often happens that a portrait only just suggests the likeness and character of the subject, so that we have been deprived of publishing a large number of portraits of readers of apparently strong types of character, whose photos make pretty pictures, more than distinct likenesses. Our artist can only deal with those in which the features are clearly and firmly delineated.” We must confess we do not quite under stand this, unless the explanation is to be found in the hint at the end. Have some of the photographs been of the “fuzzy’’type so dear to the advanced school of photo graphers ; have the sitters moved, or has the retoucher’s pencil been at work obliterating all the salient points which go to make up character in a portrait? If the latter be the case, Woman should have said so boldly. An adverse opinion expressed by such an authority might have had a beneficial effect. It is very certain that nothing irritates the draughtsman who has to reproduce a photograph so much as a portrait of the Book-of-Beauty papier mache tea-tray variety. An interesting record of the House of Commons is in preparation. It consists of four volumes, containing the portrait of every member returned to the present Par liament. A society journal, in announcing the fact, gravely says, “ We are assured that by the new process of photognezzotype (sic') the reproduction of the photographs will be permanent.” “ Photognezzotype ” is distinctly good. We have never heard of it before, but if we might hazard a guess with the assistance of the French language, it should mean photographs of the members’ noses! Some curious ideas as to the use of photography by the police prevail in the City. A friend, a few nights ago, had the misfortune to be locked in his office through the occupants of the shop on the ground floor leaving without ascertaining whether anybody was in the house. He managed to escape by lowering out of the window to a passer-by the key of the padlock which the regulations of the City impose upon householders to fasten on all outer doors. Relating the circumstance to the shop man, who the next morning was full of apologies, he remarked that it gave him no trouble to get out. “ Ah ! but it might have given you a little trouble afterwards if a policeman had unlocked the padlock. He would have been obliged to have taken you to the station, where you would have had to have given your name and address, and perhaps while you were talking they’d have taken your portrait. Everybody is photographed as is taken to a police station, though they don’t know it.” As the man was perfectly serious, he evidently believed he was speak ing the truth. Our friend does not think the photo graphic acquirements of the police have yet reached this length, nor do we.
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