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The photographic news
- Bandzählung
- 24.1880
- Erscheinungsdatum
- 1880
- 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-id1780948042-188000001
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- http://digital.slub-dresden.de/id1780948042-18800000
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- oai:de:slub-dresden:db:id-1780948042-18800000
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- Bandzählung
- No. 1157, November 5, 1880
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
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Zeitschrift
The photographic news
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Band
Band 24.1880
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- Register Index 631
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Band
Band 24.1880
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- Titel
- The photographic news
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530 THE PHOTOGRAPHIC NEWS. [November 5, 1880. further sweep of the bay, the outline of castle and hill dimly visible in the twilight. These and other matters we must be silent about, if we do not wish the reader’s sym pathy to turn into absolute envy. Imagine a well-built square of white houses in a fashionable part of the town. The garden of the square is protected with handsome railings ; there are green shrubs and trees in the vicinity of the railings, and, for the rest, a well-kept lawn decked with flower-beds, and intersected with brown gravel walks. In the centre of this garden is the Sarony establishment. It is a solid, oblong building, Grecian in style, and, at a rough guess, 120 feet long. The building is white, with cream-coloured cornet stones, and a broad flight of steps at either end of the building form a fitting entrance. We go in by the eastern door—the threshold guarded by a pair of lions rampant—the aspect of the interior being more that of a public establishment than a private one ; indeed, as we soon discover, the Sarony Gallery is one of the sights of Scarborough. Visitors my come and go any hour between nine and five ; and beyond the many productions of a photographic nature on view, there is, on the first floor, a fine collection ofpaintings, for the most part the work of F. Jones Barker, the painter, it may be remembered, of “ The Allied Generals before Sebastopol,” a well-known picture that has been engraved and extensively sold by Messrs. Graves, of Pall Mall. “ The Charge of the Light Brigade,” by Mr. Barker, now occupies a post of honour in the Sarony Gallery, and there are other noteworthy paintings and portraits which make the fine hall a point of attraction and fashionable lounge with the visitors to this favoured spa. But we have, as yet, got no further than the corridor. On the right hand is the business department, where a specimen of every form of portrait may be seen. Here we are met by Mrs. Sarony, who is good enough to give us a hearty welcome, and by Mr. Fisher, one of the managers, in whose company we are to make a round of the premises. Mr. Fisher tells us that the Promenade or Panel portrait has taken very firm root at Scarborough, being the favourite picture of the season ; and while in the business department we may mention that the charge made for promenade port:aits is one guinea for five plain portraits, or four vig netted and enamelled ; for in the Sarony establishment enamelled pictures are still in favour, and sitters readily pay a larger sum for the extra finish imparted by a glaze of gelatine and collodion. Cartes-de-visite are charged six for half-a-guinea, or twenty for a guinea. We walk along the corridor. On the right, as we pro ceed, are the reception and waiting rooms. These are magnificent. Handsomely furnished, more after the style of a French salon than an English drawing room, the apartments are the embodiments of good taste and costly elegance. Rich divans and velvet lounges, lofty mirrors and gilded tables, attract the eye on all sides ; pictures are on every wall, and one of the salons contains a collection of most exquisite water-colours. Two studios lead out of these reception rooms on the ground floor, and here most of the portraits are taken, for, although there are other glass rooms above, the sitter is not troubled to ascend, unless it is absolutely necessary. We go through the door of one of the salons and enter the studios. They are both lighted from the north. In the middle, where they join, the cameras are placed, and the dark rooms are situated. Thus two sitters, taken at the same time, supposing there were no division between the studios, would be facing one another. In this way, husband and wife can be secured from different aspects, while yet lighted from the north, and an assistant can operate indifferently in one studio or the other without altering the conditions of his working. The studios strike one as very different to those usually met with. They are small, low-roofed, sombre, and cool; and as we look at them, we call to mind the predilection for low studios that has of late years manifested itself, among Berlin photo graphers especially. In a word, the Sarony studios are the very opposite to what glass rooms usually are. The rooms are painted a French grey, which looks the darker by reason of the absence of height. On the light side, the curtains are drawn from the end of the studio up to a line with the sitter; then comes au area of six or eight feet square of plain glass, usually covered with a gauze, while, in the rest of the studio, in front of the sitter, the light is exceedingly subdued. At the camera end of the studio itis indeed, comparatively gloomy, so that assistants may enter the dark rooms which adjoin (and which serve for both studios) without inconvenience to themselves or the opera tions they may be conducting. There is provision for top light, but little use is made of it, the illumination here being kept under control by a sort of Venetian blind arrangement placed horizontally—or nearly so—upon the roof. At first sight there is apparently not much room for backgrounds—they are all Seavey’s—in these small studios; but on looking nearer, we find ample provision has been made in this respect. The backgrounds are ingeniously contrived to rise from below, and so well balanced are they, that with one hand you can change the scene without diffi culty. The accessories in use are very few, and none, we were glad to see, had that highly-polished, glace aspect, which is so much in favour with many makers of these articles. Wet collodion is still in every-day use ; “ it is the diffi culty in developing rapidly, and being sure of your result before the sitter leaves,” that has stood so far in the way of gelatine for ordinary work. The assistant, too, cannot be made to forget old experiences. “ I really think the only way will be to train an assistant for dry-plate work alone, if we want to work it smoothly and regularly,” said Mr. Fisher. At the entrance we remarked a huge tabular statement of all the rooms in the building, and these we now proceed to visit. In the corridors, on the staircases, and in many of the rooms, the window panes are photographic trans parencies, not only of subjects direct from nature, but of paintings, prints, &c., whose appearance is exceedingly attractive. Here, on this floor, is a series of artists’ rooms; here is an apartment with rows upon rows of opals in a more or less finished condition ; here are the retouching rooms ; here enlargements on canvas. At the Sarony estab lishment all enlargements on canvas are made in silver, and, on expressing a desire to see the process in operation, we are forthwith ushered up to the second floor. “ The great thing in the preparation of the canvas is to wash with plenty of water,” said our guide ; “ but, of course, it is necessary to remove to the last degree any pigmentor pre paration that may have previously been applied.” As we enter, a canvas is in process of sensitizing. It is resting upon a board, iis four corners fixed up with clips, so as to form a tray ; it has previously been treated with equal parts of bromide and iodide by way of “ salting,” and it is now under the action of a thirty-grain solution of nitrate of silver. In its position upon the board the canvas may be handled at will, and presently the bath is poured off, and the fabric, wet as it is, stretched for printing. A Monckhoven en larging apparatus, sunshine being employed as the illumi nating agent, projects a magnified image upon the canvas, and in two minutes the latter is ready for development. It is taken down, placed once more upon the board, the corners clipped us before, and a developer containing equal parts of citric acid and pyrogallic acid poured over. The development is complete in about five minutes, and then a solution of salt and water is poured on ; the fixing may be at once proceeded with, or may be postponed almost inde finitely, as may seem best. We now proceed to the basement, where are the work shops, the negative rooms, the enamelling and printing rooms. Two little points in the printing-room, scarcely very novel, perhaps, are still worth noting. To secure faultless prints from a cracked negative, it is put at the bottom of a narrow box, two feet deep, with blackened
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