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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
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- oai:de:slub-dresden:db:id-1780948042-18910000
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- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Parlamentsperiode
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- Bandzählung
- No. 1729, October 23, 1891
- Digitalisat
- SLUB Dresden
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Zeitschrift
The photographic news
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Band 35.1891
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notorious in New York, and who are well known to the police of that city. It is most interesting from a photographic point of view, as well as to those who care to study physiognomy. Each portrait is accom panied by a short history of the original, and, curiously enough, the deepest dyed villains are by far the most presentable looking men. The majority of the portraits, in fact, have very little trace of villany about them. Some are grave, some are jolly, and mostly they are pictures of respectable looking folk such as one rubs shoulders with in church, or in any other public assembly. It is when one begins to study their re cords that it is discovered what rogues some of these fellows are, and how they prefer crooked ways to those which are straight. Here are thieves of all kinds, some of whom have been tried for murder as well, pick pockets, bank-safe burglars, “confidence” men and women, house thieves, hotel and boarding-house thieves, receivers of stolen goods, and forgers. And, as we have said, these birds of prey are, according to their photo graphs, respectable members of society. Could the famous Lavater, we wonder, have detected the rascal beneath these fair exteriors, or are we ourselves sadly deficient in our powers of judging by appearances ? “ Is it usual for criminals to be so trim ? ” asked a reporter of Inspector Byrnes. The answer is to the effect that, as a rule, thieves attire themselves so as to attract the least attention from the class of people among whom they wish to carry on their nefarious business. If among poor people, they dress shabbily ; among the well-to-do they dress stylishly. Their great aim is to escape notice, and to appear like the crowd among whom their lot is cast. We read, for instance, of a couple of worthies—man and wife— whose business it was to pick pockets at wakes and funerals. They, of course, dressed in sable, and were the most solemn looking couple it was possible to imagine. There is something intensely grim in the thought of these rascally “ mourners ” picking pockets in the shadow of death, and robbing those stricken with grief. Could human meanness descend to a lower pitch than that? The author of this interesting volume tells us that, although a number of his clients have endeavoured to cheat the photographer by making grimaces, as a rule the pictures of these artful ones are quite sufficient to identify them by. In one example, a criminal who defeated every attempt of the photographer was eventually taken while asleep, and his picture, with head on pillow, is duly reproduced. But why, in these days of quick plates and rapid lenses, should there be any difficulty at all in getting first-rate pictures of these public characters ? Surely it would be the easiest thing in the world to have a concealed camera pointing to a well-lighted seat in the open air, where the criminal whose portrait was wanted could be invited to sit for a few moments. Give him a newspaper to read, say, with an account of his own “ case ” in it, and, while he is absorbed in the narra tive, let the warder call him by name. As he raises his face with a natural expression on the features, let the trigger of the shutter be released, and a good por trait would bo the result. But there is so much red tape about all official acts that probably the old, clumsy way of taking criminal photographs will con tinue to be followed, notwithstanding the gain that would accrue from adopting the better plan. PHOTOLYTIC ACTION IN RELATION TO SOLUTION. BY F. C. CROSS. We shall not, we hope, be considered disrespectful to the amateur photographer if we regard him as a devotee of light science. He is, in fact, so much absorbed in the practice of a delightful art as to have little time left for a serious study of such incidental matters of science as light and chemical action. We are free to confess with him a very substantial ignorance of these subjects, more es pecially the former ; but we feel—the more so, perhaps, on that account—a distinct call to rush in where the light philosopher hesitates to tread, and to discuss one or two bearings of the fundamental phenomena of photographic action which he—we were going to say—appears to over look, but should rather, perhaps, say prefers to suspend his mind upon. We are the more emboldened to carry our exploring rushlight into the obscurity of this region of physical science, in observing the regard paid by writers on the subject of photography to the excellent injunction of a modern authority : “If you want to learn something of a subject, write about it.” This is very much our attitude in attempting to forecast the directions in which the study of photographic action will contribute in the near future to important developments of physical science. Up to the present this distinction cannot be claimed for the camera, notwithstanding the powerful mechanical aid which it renders to science. In fact, the amount of exact knowledge which we possess of the molecular mechanism of photographic action is quite remarkably disproportion ate to the enormous development of the art, of which such knowledge might very well be supposed to be the necessary basis. But in this, as in many other growths, practice has far outstripped theory, and the photography of to-day presents an elaborate and intricate system of preparation and manipulation of the photo-sensitive sur faces, with a request to all who may have the taste for the uphill work of investigation to be good enough to refer the countless details of practice each to its corresponding scientific basis.* A very elementary analysis of the phenomena of photo graphic action shows (1) that they represent only a minute fraction of the molecular decompositions which are known to be occasioned by light; and (2) the photo-sensitiveness of a compound is very materially affected by the medium through which it is distributed for the preparation of the photographic surface. There is certainly, it will be observed, nothing very striking—or, rather, strikingly new—in these conclusions; but it is just those to whom this observation would occur who, perhaps, fail to see their cardinal importance, and that through each there opens up a vista of the science of the future in which the study of photographic action will play an important part. What these are we proceed to show, duly apologising to those to whom our conclusions, and the forecast of their development, may seem familiar. Light is the physical cause of life. The ultima ratio of our existence is the constructive activity of the plant cell, • Comp, Meldola, “ Chemistry of Photography," page 2.
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