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January 23, 1891.] THE PHOTOGRAPHIC NEWS. 67 Another application of our ubiquitous art I We learn that a firm of Nottingham curtain manufacturers employ a photographer whose business—happy man—is to seek out secluded nooks and glens, where ferns and underwood flourish, where streamlets murmur, and where the kingfisher and dragon-fly glide. He takes photographic notes of these natural pictures, and from his photographs artists work out designs for lace curtains. Up to within quite recent times, English manufacturers were dependent upon French designs for their lacework, but the camera has been introduced into the service, and Waterloo, in this ease, has not yet been avenged. It is satisfactory to see that the British Museum authorities are alive to the advantages of photography. Simultaneously with the announcement of the discovery of the Aristotle papyrus comes the statement that the latter is to be photographed. It is very clear that photography places a considerable power in the hands of scholars and antiquarians. By means of facsimiles, comparison can be made with specimens in foreign libraries, and thus the possibility of deception and forgery effectually guarded against. It would be interesting to know how a phrenologist can give an analysis of a person’s character from a photograph. It is clear that he cannot feel the bumps, though perhaps it may be argued that, by intently studying the conformation of the skull and the various elevations thereon, he may evolve some thing out of his inner consciousness. Anyway, Dr. Koch has been phrenologised by the Phrenological Magazine simply from study of his picture: As a con temporary remarks, “photographs are dangerous things from which to describe a person’s phrenological properties.” The writer, it seems, has overcome the difficulty by granting to Dr. Koch almost every gift and capacity extant. We are not aware that photographers are addicted to photographing themselves, but possibly this may be due to the mechanical difficulties in the way. Artists have not the same trouble, and it is not surprising that most well-known artists have painted their own por traits. Indeed, a collection of portraits of painters by their own hands has been suggested as a means of elevating art, and there is already a most interesting gallery of the kind in the UJJizzi at Florence. Sir Frederick Leighton does not, however, favour the proposition, as he says that to paint one’s own face is distasteful to the artist. We do not know why this should be so, as an artist paints from his reflection in the glass, and such a reflection, the student of human nature will say, is always one that is agreeable to the person reflected. When we look in the glass we see the image we want to see. This is why a photograph which takes us with an unfamiliar look upon our faces comes at times as such a painful surprise. We do not think that Sir Frederick Leighton is altogether correct in his opinion. Experience points to the opposite. It may not be long before the ingenious pantomime mask-makers, in want of a new monstrosity, will go to photography for it. The photographs of insect life, exhibited by Mr. Poulton in his lecture to children at the Society of Arts, aie said to show such grotesque ness and unexpected forms, that nothing so curious has ever been seen at the opening of a pantomime. This certainly gives a new field for the Dynwinkyn-whose name used to be a household word in the mask world —of the future. Panama is about the worst place in the whole world for photography. We are informed by a traveller who has recently visited the Isthmus that it is absolutely impossible to buy any moderately decent photographs either of the canal works or anything else. Photo graphers give up the task in “ despair.” This is on account of the extreme humidity of the atmosphere. Some idea of this may be imagined when we say that the contents of a trunk which formed a portion of our informant’s luggage, and which trunk was never opened while at Panama, were found to be incrusted with a green mould. Only those who have travelled on the Isthmus can form any idea of the hygroscopic conditions. Naturally the climate is as fatal to life as it is to photography. It is sad to have to confess that photography lends itself easily to bad ends, but such is the fact. The old dodge of inviting ladies to send stamps, and in return they would have unlimited work in the way of colouring photographs, for which “no previous experi ence ” was required, is, it is true, exploded, but a new artifice has taken its place, and would appear to be even still more remunerative. This plan consists of advertising that a generous firm will supply you with a pastel portrait on the sole condition that you have the picture nicely framed, and recommend the work of the firm to your friends. When you send your photograph, you get back an intimation that nothing can show off the “pastel portrait” so well as one of the “firm’s” frames, a pattern sheet of which is enclosed. If you decline to purchase a frame, the pastel portrait never comes, nor is your photograph returned. A Shoreham solicitor who had been done in this way, bringing an action this week in the Worthing County Court, obtained judgment for two guineas—the amount demanded for the failure of the contract. As the de fendants did not put in an appearance, it is more than likely the two guineas will be as invisible as them selves. The lucrative nature of this advertising dodge may be imagined from the statement by the plaintiff’s solicitor that as much as £800 had been traced through the post office representing remittances sent in in one day to the firm in question. A storekeeper at Barberton has a queer advertise ment in the Barberton Herald. After going through the list of his goods, he says, “ Photographers wanted to take display for next Transvaal Exhibition. No ama teurs need apply.” Why this contempt for amateurs ?