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The photographic news
- Bandzählung
- 5.1861
- Erscheinungsdatum
- 1861
- 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-id1780948042-186100002
- PURL
- http://digital.slub-dresden.de/id1780948042-18610000
- OAI-Identifier
- oai:de:slub-dresden:db:id-1780948042-18610000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
- Strukturtyp
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- Parlamentsperiode
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- Wahlperiode
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- Bandzählung
- No. 140, May 10, 1861
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
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- Wahlperiode
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Zeitschrift
The photographic news
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Band
Band 5.1861
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- Titelblatt Titelblatt I
- Sonstiges Preface III
- Ausgabe Ausgabe 1
- Ausgabe Ausgabe 13
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- Ausgabe Ausgabe 611
- Register Index 619
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Band
Band 5.1861
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- Titel
- The photographic news
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In ceo- uch era., our’ the ing tive tied lure six r our lalf fore ollo- ess, ized ver, ight vith 20us our ie of Ities lion the u, I sity, eyer per. p. k,a A ancy a by . the ittle are sing rest and earn rthy g off ites. ition sarit ould shall d of The em- ater caph gall aper not you. it is da 5 gold lion se it .p as t we PIIC e at .er 4 and ofor The out. iror isent , last olve heir mer ters /to THE PHOTOGRAPHIC NEWS. Vol. V. No. 140.—May 10, 1861. ■ PHOTOGRAPHY, AND THE INTERNATIONAL EXHIBITION OF 1862. 1 The photographic community at large were somewhat 3 startled when, some weeks ago, the first rough draft of the 3 classification proposed for adoption in connection with the ! coming International Exhibition was published, in which 1 photography was placed under the head “ machinery,” and ‘ in the, doubtless highly respectable, company of “ ship’s tackle,” “ agricultural implements,” &c. Our own first im- ‘ pression of the matter was that it was purely an inadver- 1 tency or. oversight. It appeared too rich a joke to suppose ' that the pictures of such men as Bedford and Mudd, Wilson and Fenton, Lyte and Heath, Rejlander and Robinson, Williams, Claudet, and Mayall, and a host of others, could seriously be regarded as rightly classified amongst railway plant, machinery, and tools ; and the more so, when we remembered that the royal family of this country were amongst the warmest admirers and patrons of our art. Knowing, however, that the surest way to render perma nent the blunder was to enlist the amour propre of its per petrators in its defence, by a public condemnation of it, and perceiving no readier means of calling the attention of the authorities to its rectification, we resolved to write to. Her Majesty’s Commissioners, pointing out the error, and the evil influence it must have in preventing a fair representa tion of our art. Accordingly, a little more than a month ago we forwarded a letter, of which the following is a copy:— "April 11, 1861. “ To Her Majesty’s Commissioners for the Exhibition o/’1862. “ Gentlemen,—Referring to the proposed classification of articles for the International Exhibition next year, will you permit me, as being familiar, from my position, with the views and feelings of the mass of British photographers, amateur and professional, and as, in a non-official sense, repre senting them, to point out, respectfully, the injustice to them and the art which is involved in placing photography under the classification ‘ machinery and engineering.’ “ It has been the aim, for some time past, of photographers to render their art worthy of consideration amongst the fine arts, and has of late, in portraiture, landscape, and re-pro- ductions of paintings, &c., been adjudged by connoisseurs worthy of such consideration. And notwithstanding its importance in connection with engineering, &c., a very large class of the finest photographic productions could not, with propriety, find admission into a class designed for machinery. “ May I respectfully suggest, gentlemen, if the matter be not definitively settled, that photographs be admitted into the department designed for works of Fine Art, and that they may be so classified in any future announcements, as other wise I fear that many valuable productions of the art will be kept out of the Exhibition.—I am, gentleman, your humble servant, G. Wharton Simpson, “ Editor of the PHoTOGRAPMIC News.” In due course we received the following reply :— “ International Exhibition. 1862. “ Offices, 554, West Strand London, W.C. " 16th April, 1861. “ Sir,—1 have the honour to acknowledge the receipt of your letter of the 13th inst., which will be laid before Her Majesty’s Commissioners in due course.—I am, sir, your obedient servant, F. R. Sandford, Secretary. G. W. Simpson, Esq.” What further attention our suggestion received we are not in a position to state; but as we are not at present aware that any other communication was made to the Com missioners, we may fairly assume that it had some influence in the steps which followed, and which we hope may issue in a satisfactory arrangement, in which the claims of photo graphy shall receive proper acknowledgment. From an announcement made by the secretary of the Photo graphic Society on Tuesday night, we learn that a communi cation from the Commissioners had been addressed a few days ago to the Chief Baron, as President of the Society, suggesting that six or eight persons should be appointed to advise with the Commissioners as to the proper steps to be taken in connec tion with the representation of photography. A meeting of the council was at once called, when it was very properly resolved that no steps should be taken until photography should be'placed in a proper position; classification amongst the works of fine art being claimed as its proper place. The Chief Baron, we understand, then wrote a letter of re monstrance to the Commissioners, arguing the case very pointedly, and conveying the resolution of the Council of the Society. So far as our information goes, the matter thus remains; but we cannot but hope that a wrong so palpable and indefensible, only requires to be pointed out, and the remedy firmly claimed, to receive a satisfactory solution. We are glad to record that the steps of the council of the society were so prompt and consistent with the dignity of art, when once their attention was aroused by the communi cation of the Commissioners ; although we should have been better pleased to have been able to state that they had taken the initiative in a matter so important, and in which they alone could act with that weight and influence the occasion demanded. We may here remark that the publication of the official list of the classification intended, whilst it removes the idea that any mistake had been committed in the first published list, still leaves the matter in a somewhat ambiguous state. In Section II., Class 13, we find “ Philo sophical Instruments, and Processes depending upon their use and immediately following, Class 14, “ Photographic Apparatus and Photography,” not Photographs. From this allocation it would seem that photography as a process, and not photographs as works of art, is referred to. Without material alteration in the classification, it is only necessary, therefore, to add “ Photographs,” to the fourth section— “ Modern Fine Arts,” to render the classification satisfactory and complete. And as the Attorney-General, in his new Copyright Bill, has essentially defined photographs as “ pictures” and works of fine art, Her Majesty’s Commis sioners can scarcely have much difficulty in following so righteous an example. Now, however, is the time for vigor ous remonstrance ; and we recommend to the various photo graphic societies throughout the kingdom, to take consenta neous action, and memorialize the Commissioners, so as to assist the parent society in impressing upon them the ex tent of the wrong, and the amount of indignation it has ex cited. THE TANNIN PROCESS. It is important that the real grounds of merit in this va luable process should be well understood. It is not a quick process. It is simple in manipulation; and under fair conditions, clean, brilliant, and certain in results,—the nega-
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