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The photographic news
- Bandzählung
- 24.1880
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- 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. 1126, April 2, 1880
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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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APRIL 2, 1880.] THE PHOTOGRAPHIC NEWS. 159 matters too far. I have in my office a horrible picture sent me by the Paris police of a body that was cut into pieces by the murderer.” In some jails, prisoners do their own photography, in others it is done by one of the warders or by an outsider, and, unfortunately, each governor has usually his own views on the subject, so that the pictures, although of the same dimensions—three- quarter carte—are not taken from the same aspect, &c. Here is a volume showing “ Classification of Crime.” The portraits are arranged according to the crimes com mitted by the sitters :— Arson. Bigamy, abduction, &c. Burglary. Forgery, embezzlement, &e. Manslaughter. &c., &c. “ Now, can you,” we asked, as we turned the leaves of this interesting album, “ make out any connection between the physiognomy of the criminals and the nature of their crime?” The question was rather ridiculous, it occurred to us immediately afterwards, because it would be a little absurd to connect arson, for instance, with a snub nose, and burglary with large ears. There was no hesitation about the reply we received. In our host's experience the criminal class began with small crimes and ended with big ones; crime, like other sciences, was pro gressive. “Now, here is a man,” pointing to a smiling portrait of the better class, “ who has probably committed every crime under the sun ; to my knowledge he has had four ‘ penals,’ and may be said to pass his life in prison,” Another man was picked out—a young fellow this time— with a fair, soft beard and incipient moustache, who, with a little brushing up, would look like &jeuM premier of the French stage. His portrait is marked “ dangerous,” and he is under the denomination of burglary. “ What is he dangerous at—breaking in ?” we asked. “ Breaking-out,” was the curt reply; “it’s the same crime; he conceals himself in the daytime and breaks out at night.” Another grizzled face is also marked “ dangerous”; there are copious notes about him, but at the end of all stands the word “ dead ”; he, poor fellow, will never more be worried by the bull-dogs of the law. “ All the portraits should be taken half-profile,” says our informant; “ there is no character in a full face but we cannot get the governors always to do as we wish.”’ This it seems, is the general opinion among the warders and in spectors who are occupied in the identification of criminals and this will, in future, be the aspect chosen for all pri soners. The shape of the nose and the nature of the cheek-bone is then very apparent, as are also the general characteristics of the face ; while, it must be remembered, that in looking at a man you generally study him side ways, for obvious reasons. In the full face and true pro file, you lose much character, which is shown in a portrait taken between the two. Photographers, we believe, will generally agree with the criminal officers in this, and, in deed, as we know, they execute the majority of portraits under like conditions ; it is only the governors of prisons, indeed, who seem fraught with the one idea that the more you see of a face the more likely you are to recognise it again, and hence have a firm belief in full-face portraits ; gradually, however, a change is coming over their work, and this change will, no doubt, be hastened by some dis tinct regulations as to the mode of taking criminal por traits, to be issued from the Home Office. Probably, governors think they have quite enough to do keeping watch and ward over their prisoners, without bothering about photography. Here is a simple and effective application of criminal photography. It is a printed form, with written words filled in at intervals. At one of the bottom corners is a neatly-mounted carte portrait of a man. He is an elderly prisoner) just released, with a hooked nose, sharp eyes, and white stubble about the jaws, for all the world like a caged vulture whose feathers have been worn against the bars. He has been released on “ ticket-of-leave," and has given notice to the police (as he must) that in future he will reside in Gloucester. Accordingly, he is ordered to report himself at stated times to the Gloucester police, and the printed form before us conveys the necessary information for the man’s identification, and will be forwarded to that town. There is a note above the portrait, “ shaved since released "; but the hooked nose and the sharp eyes remain for all that, and these will be quite enough for the police. These photographic albums are often consulted, and form the best histories of criminals. A man is in custody, and warders come from all parts to identify him ; they could swear, possibly, to his having suffered penal servitude, but they can make nothing of him. Presently one warder believes he has seen the face before ; he studies the man’s features again and again, and finally hies away to Scotland Yard to study the albums also. “ Here he is—that’s the man ; I thought I knew him; John Jones, convicted of burglary at Maidstone in ’74,” and this is at once corrobo rated by the local police, who are sent for to verify the warder’s dictum. The description of the man on the police books, his height, and, perhaps, a mark on hand or leg, are then quite enough to convert doubt into certainty. It is the opinion of professional recognisers that if the sitter slopes his face to the right, the portrait is more easily known than sloping to the left, a hint that photographers may like to have ; although, as a rule, they choose according to the more favourable side of the face. It is an undeniable fact, however, that the human nose is rarely straight, and its direction generally depends upon which side you rest when sleeping. At any rate, the thief-catcher prefers always to have a portrait taken in the way we have men tioned. An impression of a very forcible nature rests upon the mind as you leave Scotland Yard behind you, which is, that photography has probably done much more than any other of the recent police improvements towards the detection and suppression of crime. The next “At Home ” will be “Mr. William England, St. James’ Square, Notting Hill.” NOTES ON THE GELATINE EMULSION PROCESS, WITH A PRACTICAL DEMONSTRATION OF THE PREPARATION OF THE EMULSION, COATING OF PLATES, &c. BY THOMAS CHILTON.* At various times we have heard of or seen and appreciated some of the wonderful results obtained through the changes that have taken place during the last two years in tho pre paration and working of gelatine plates. For these results our thanks are due to the many workers who have from time to time given particulars of their modes of working and the experience gained therefrom, foremost among whom must be mentioned the name of Mr. C. Bennett, who has brought about the most important change, namely, “the extreme sensitiveness obtained by the application of heat to the emulsion, and the use of a very strong developer therewith.” You will doubtless know how this method of working has gained ground, and how it promises to effect one of the greatest revolutions known to photography. And we all must agree that the thanks of photographers are due (and, I doubt not, are often silently expressed) to Mr. Bennett for the very generous manner in which he made public his improved method. Seeing that we have such a valuable means at our disposal, the question arises—Are photographers who entirely ignore this process acting to their own best interests ? Should they • A communication to the Manchester Puotographie Society.
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