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The photographic news
- Bandzählung
- 24.1880
- Erscheinungsdatum
- 1880
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- Englisch
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1161, December 3, 1880
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Zeitschrift
The photographic news
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Band 24.1880
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- Register Index 631
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Band 24.1880
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578 THE PHOTOGRAPHIC NEWS. [DECEMIBER 3, 1880. reproduction of their drawings ; they mix solutions of red prussiate of potash and ammonium ferric oxalate, dip a sheet of paper into the mixture, dry it, and then expose it to the light under the drawings. Protoxide of iron is formed by the chemical action of light on the ferric salt, which forms Turnhull’s blue with the red prussiate of potash. It must be mentioned, however, that red prussiate of potash alone is decomposed in presence of light. If paper is impregnated with a concentrated solution of red prussiate of potash, and then dried, it gives a pale blue picture when exposed under a negative. Yellow prussiate of potash is also sensitive to light, as Schonbein was the first to point out. Et foe, BRIGHTON IN THE SEASON. The tide of the Brighton season is supposed to reach high- water-mark at the Polo Ball, which was held last week at the Pavilion ; and it is certain that the town could not be more full of life and gaiety than was the case a few days ago. Brighton quickly looks gay if you only give it a chance. N o sooner does the wind and rain cease, than, with the first glimpse of sunshine, Brighton dries up her tears, regains her bright smile, and looks as if bad weather never troubled her. The shining white houses bordering the King’s Road and the beach—the broad green esplanade, the pleasant red-brick pavement—the spacious roads and the level parades with their neat iron rails and trim terraces—the bright shops—the fast-rolling chariots and animated riders—the gay toilets—let there be but an hour’s moderate weather, and all these are seen to advantage. Brighton is fickle, but for that reason she is the more seduc tive. The “ soft ” paving, as our friends the Dutch style their favourite red-brick pavement, dries within ten minutes of a storm, and the magnificent pier is so cunningly sheltered with plate-glass, that you may sit comfortably listening to the strains of the town band, though it blows half-a-gale. It is true that even in the sunshine it is none too warm. The rays strike down in a very slanting fashion, and, early in the afternoon, the red orb sinks into a bank of cloud, which has all the solidity of a far-off land out at sea ; a chill arises, that speedily sends home most of the fair company who crowd the King’s Road in firs and tippets, velvets and sealskins, to assemble around ruddy fires and five o’clock tea. There is little twilight, and darkness falls while the clouds are still aglow to seaward. The short days of the Brighton season not only cut short the entertainment of visitors, but, unfortunately, prevent our friends the photographers from benefitting very much by the busy time. Brighton photographers are, indeed, rather hardly used on this account. All the grand people come down to visit them just when the precious daylight begins to fail; but, for all that, it must not be supposed that Brighton photographers are idle. On the contrary, to judge by the number of thriving businesses both, of a high and middle-class, they flourish exceedingly well. Mr. Mayall’s studio in the King’s Road—a classic name among photographers—is a centre of attraction with visitors, for the handsome gallery contains many portraits which are now historical. There are fine pictures of Lord Palmerston, Earl Russell, the Prince Consort, Daguerre, Wheatstone, Sir D. Brewster, Sir J. Herschel, &c., &c. Mr. Mayall’s studio is, indeed, in such a flourishing condition that, as soon as the Brighton season ends, he purposes opening an establishment in New Bond Street, and so follow his patrons to London. In the King’s Road, also, we find a fine studio of Messrs. Lock and Whitfield, who exhibit exceedingly good work, that reminds one a good deal of fine miniature paintings, so delicate and soft is the portraiture, A lady in a clear white costume and white parasol among the examples, was a delightful study, full of artistic quality and rare finish. Next door is the studio of Hennah and Kent hardly less attractive, whose speciality seems to be the mounting of photographs under glass slabs, whereby, as we know, the appearance of a good picture is often further enhanced. Messrs. Hennah and Kent also show some charming coloured work, which likewise proves a source of much attraction. Bertin’s studio also faces the sea; here the work exhibited has that brilliant appearance which we usually connect with the French and Viennese school of photography, Bertin displaying a large collection of prome nade or panel portraits in his show case. Lombardi and Co. have a studio in the King’s Road, and a second one in West Street, a firm, as everybody knows, capable of turning out excellent work. The studio of Monsieur Boucher, close to Brill’s Baths, is another well-known landmark of Brighton, and, just now, it is peculiarly attractive by reason of a series of cabinet portraits of Madame Nilsson which are exhibited. This series of pictures reflect much credit on the Boucher establishment, representing, as they do, quiet, artistic work that cannot be too highly praised. Near the Old Steine is Mr. Donovan’s studio, one recently-established, but already possessed of considerable reputation. Mr. Donovan seems particularly happy in his children’s portraits, which denote rare taste and skill, and a relief and modelling, unfortunately, too seldom seen in every-day portraiture. The establishment of Messrs. W. and A. H. Fry is also a popular one, the work of Messrs. Fry being of a first-class order, giving its producers title to take high rank in the photographic profession. The cabinet portraits of this firm especially are distinguished by a considerable degree of artistic effect. The name of Mr. E. Fox, in Market Street, is so well known in connec tion with the “Brighton Cats,” that no words are neces sary on our part to introduce him. Besides the whimsi calities he is so clever at producing, Mr. Fox is a very capable landscape photographer, as many examples of his work here testify. Another studio of note is that of Mr. Hall, in West Street; but besides these we have mentioned, Brighton has many other studios where good work is done. All photographers are interested in the question of arti ficial lighting, but none more so, as we have shown, than those at Brighton. Mr. Mayall has decided on emulating the Court photographer at St. Petersburg, where, by the way, they are worse off even “ in the season ” than the Brighton photographers. In St. Petersburg, in the winter time, there is not more than a couple of hours of photo graphic weather very frequently in the day, and the conse quence is portraitists do not participate much in the welcome harvest that a crowded season brings. No doubt Mr. Warnerke, who has been sojourning in the Russian capital for some months, showing the way to make gela tine plates, will be able to assist his brethren out of their difficulty to some extent; but in the meantime Levitsky, who enjoys the highest reputation in the profession in the city on the Neva, has taken care to have a system of electric illumination fitted throughout his studio. Every apartment is thus turned into an atelier, and, in dull weather or fine, morning or night, photographs are taken without difficulty in the Levitsky studio. As many sitters can be accommodated as there are assistants. The electric light is lit up in one room or the other as occasion requires, and portraits are taken. Mr. Mayall is making arrangements to light his new studio in Bond Street in the same manner, and, if it is successful, will illuminate that in Brighton after the same fashion. But we hope that in a little while it will not be the few, but the many, who will be able to adopt the electric light in their studios. Now Mr. Swan has taken London by storm with his new lamp—we are proud to have been the first to announce the wonder some time ago— photographers may well hope, for electric illumination, and they may rest assured, too, that anything Mr. Swan can do to render his simple invention applicable to the studio
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