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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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- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Exemplar unvollständig: Seite 1-82 in der Vorlage nicht vorhanden
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- Parlamentsperiode
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- Bandzählung
- No. 1122, March 5, 1880
- 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 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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Bt 2 ome. MESSRS. WILLIAMS AND MAYLAND IN REGENT STREET. Some years ago official business called us to Marlborough House. It was a cold foggy morning at the fag end of October, and the wide vestibule struck us as intensely chilly, on our entrance ; moreover, on ascending the thick carpeted stairs, we were ushered into a room on the first floor in which the door was kept permanently open. It was the equerry’s room, and that gentleman received us with exceeding courtesy. But he, too, was cold, and his faultless attire did not give one the impression that he de rived any warmth from it. Our conversation was con ducted in tones scarcely above a whisper, and there was a degree of unrest observable that was anything but comfortable. The open doorway commanded three corri dors : the one by which we had ascended, that continuing past the equerry’s door, and a third en face in the direction of the Prince’s apartments. These corridors it seemed the equerry’s especial duty to watch, and during the period of our visit that officer never took his cold eye off the door way. Portly footmen in red coats, white stockings, and low shoes came and went without a sound, and startled you by their vivid appearance in the chill silence. Our com panion was “family doctor” to the Princess of Wales, and by virtue of his position indulged occasionally in a little joke by way of thawing the frigidity that prevailed ; but the equerry did not unbend, and even the brisk entrance of Prince Arthur—he was not Duke of Connaught then—who good humouredly exchanged half a dozen bright sentences, was without effect upon the stern official. But as we still waited and watched the corridor opposite, and His Royal Highness failed to appear, the equerry, knowing that the doctor and ourselves were conversant with photographic matters, mentioned the circumstance of some little enamels having just arrived for the Princess, and these he sub mitted for our inspection. They were medallions of the Royal children, and taken, he said, by a little firm in Regent Street, of which he did not quite remember the name, but he thought it was that of Messrs. Williams and Mayland. Since that day Mr. Mayland has had the good fortune to win a medal for photographic enamels, the only award of the kind, we believe, given in this country. Like his late partner, Mr. T. R. Williams, he appears to confine himself to small work of exquisite softness and finish, and to trouble himself little about other phases of portraiture. A saunter round the reception-room of the “little firm in Regent Street ” at once supplies the reason why Mr. Mayland receives such distinguished patronage. Her Royal Highness the Princess of Wales might well choose “ the little firm ” to execute her work, for in enamels and the portraiture of children evidently lie Mr. Mayland’s strong points. Here is an infant Hercules, bold and de fiant ; here, two tiny children, muffled up against the cold, standing opposite one another; you can almost see their breathing in the cold air, and they seem to have served as models for Kate Greenaway, whose pictures have been so popular this winter. They wear little coal-scuttle bonnets, and quaint cloaks of fur, and their chubby cheeks are aglow with health. Here is a lady in a garden hat, feeding a canary—a delicate cabinet picture this—and here are a row of military heroes, for once without any semblance of loudness and vulgarity. One reason, no doubt, for the general success of these pictures is the fact that Mr. Mayland, and Mr. Mayland alone, is the author of them ; everytsitter, we are told, has his personal atten tion. We go upstairs into the studio to see Mr. Mayland, ushered by a polite young lady, who harbours grave doubts, however, as to the policy of our visit. She scarcely holds with our notion of giving an account of what we see in the News ; but consoles herself with the reflection, expressed naively enough in our presence, that “ to be sure it does not matter much, for not one in ten will ever look at it.” Mr. Mayland is busyjwith a sitter— a clown in motley. He is not a large clown ; in fact, he is a very little one—a tiny scaramouche who has been pre sent at some fancy ball, and whose mamma desires that he shall be perpetuated in Grimaldi attire. We ask Mr. May land not to mind us, and he does not. We always thought photographers had an aversion to children; at least, half the woes of which disciples of the camera complain seem to take their rise from tender offspring. But to Mr. Mayland, such work seems to afford the greatest treat in the world. The way in which the little fellow is entreated, prayed, joked, cajoled and flat tered, makes him eminently obedient. No wonder Mr. Mayland is one of the few photographers in London who seems entirely successful with children. He has in an emi nent degree that rare combination of qualities—patience, perseverance, tact, and skill—combined with that delight in the work, which is necessary for managing juvenile humanity. In a word, he converts what to many little sitters is a trying ordeal into a merry game that they thoroughly enjoy. The glass-room of the “little firm in Regent Street ” can scarcely be regarded as a model, and, therefore, it need not be described in detail. In fact, to many photo graphers, it would be a wonder how such softly rounded features, such delicate modelling, and rare finish could be here secured of this perfect manner in a studio which has no side light, but one directly facing the sitter, and this of a westerly nature. Fortunately there is an ample supply of illumination —indeed, the studio was built for Daguerreo type work, when light, and plenty of it, was the only consideration—so that a good deal may be done with curtains and screens, but it is only between the hours of 10 and 12.30 that Mr. Mayland can work with effect. The studio has a length of thirty-three feet ; the skirting board facing the sitter rises some three or four feet, and then after a few feet of window there comes the sloping roof glass. To shade his cameras, Mr. Mayland was formerly in the habit of employing a canopy overhead, but this, by reason of his defective lighting, he was compelled to abandon ; he now uses but two tiny laths which project in an upward direction beyond the lens some eighteen inches, and over which a piece of black velvet is spread. With a view to amuse children, there are plenty of quaint pictures of the Reinecke Fuchs order on the walls, while another marked feature is a round disk of chamois leather with a bleeding heart in the centre; fortunately before we had taken a sketch of the latter to present to our readers, as a novelty for attracting the sitter’s attention, we were informed that it had no photographic value at all, but was there simply for the purpose of practising with the foil, for Mr. Mayland, it seems, is a skilled fencer. Mr. Mayland was good enough to develop some gela tine plates in our presence. He employs for the purpose only artificial light. He has had a lamp expressly made, which is of metal on all sides except the face. This has a drop front of ruby textile fabric, purchased of Mr. Thomas, of Pall Mall. The lamp measures about twelve or four teen inches in height, and has a gas burner, which is always kept low. He develops, after the sitters have left, the whole batch of negatives taken during the day. He cuts his double plates into halves with a diamond ; immerses the first in the developer, and acts upon the second with a weaker or stronger solution, as the first seemed to indicate. The development of the first plate is quite sufficient for all the rest. To ascertain whether a gelatine film is perfectly clear—for it should not have the shghtest tinge of brown—it is placed upon a sheet of white paper. The brown tinge is evidence, not that the solution was not strong enough, but that there was too little of it.
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