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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. 1140, July 9, 1880
- Digitalisat
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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
Band 24.1880
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326 THE PHOTOGRAPHIC NEWS. LJULY 9, 1880. ance in real life another. It would be somewhat remark able if photography were to show that the correct repre sentation of cantering, trotting, and galloping was some thing totally different from what we have hitherto believed it to be. Photographers have already exposed a few artistic blunders, and it is quite possible they may lay bare a few more. Photographic Reproduction.—The establishment of a technical school for photographic reproduction processes at Salzburg suggests whether something of the kind could not be formed in connection with the Science and Art Guilds. The examinations already proposed are very well in their way, but do not go very far. Photographic reproduction is but in its infancy and is certain to play an important part in the book and newspaper illustration of the future. Already it has begun to elbow wood engraving out of the field, and “ process,” as it is technically called, is used to a much larger extent than the public imagine. We can call to mind three or four illustrated journals, the majority of the pictures in which are produced by the aid of photo lithography and photo-zincography, and in the very best examples it is difficult to tell that they are not wood cuts. Of course, the limit to the production of effect by means of “lines’’only confines these pictures to a certain class of work, but if a method by which a “ tone” could be readily produced were ever discovered, an enormous stride in advance would be gained. This is a branch of photographic art which the Guilds of Science and Art might well take up, and we trust they will not lose sight of it. A NEW INSTANTANEOUS SHUTTER. BY G. L. ADDENBROOKE. I SHOULD be glad to make a few supplementary remarks on the instantaneous shutter working in front of the plate which I described in your paper of the week before last. Since that time Mr. England has tried the shutter with perfect success, the resulting negatives being sharp, bril liant, and very evenly exposed. Not in any of my ex periments have I found the least trace of that indistinctness about the fine lines which shows that the camera has moved during exposure. It works, too, with so little noise that a sitter or animal would be unaware when exposure took place. In addition to being used in front of the plate it may also be placed cither just behind or before the lens, preferably the former, and in cameras above whole-plate size I should advise its being used in this position. If in this case the axis of the shutter were placed as low as pos sible, the whole of the lens would be perfectly uncovered and free to act on the plate during a good portion of the ex posure, whilst during the remainder, the middle distance would receive more light than the sky, and the foreground than the middle distance, thus securing an even lighting, and which most shutters are far from giving. It seems to me also that this shutter will be very useful in exposures of about half a second, now so often needed with gelatine plates, and so difficult to secure, as it is im possible to uncap and cap a lens in this time, and most instantaneous shutters are, on the other hand, far too rapid. If, however, rapidity is sought, 1 do not see why the exposure should not be indefinitely shortened by strengthening the elastic band and spring. Whether the shutter is used just behind the lens or before the plate, it is equally entirely inside the camera, and does not offer any opportunity for the entrance of diffused light. I myself have but little leisure during that part of the day when experiments on instantaneous shutters must be made, and therefore must be excused not having greater results to show ; but perhaps anyone trying a shutter of this description will send a line to say how it succeeds. Et ome, MR. ROBERT SLING8BY AT LINCOLN. There is this difference between photographic studios of our own country and those on the continent. Abroad, the capitals appear to absorb all the best photo graphers ; with us, men iu the first rank are to be found as well in the provinces as in town. Mr. H. P. Robinson, of Tunbridge Wells; Mr. Jabez Hughes, of Ryde; Mr. J. E. Mayall, at Brighton; and Mr. Slingsby, of Lincoln, are examples of this. Good work steadily makes its way, no matter where it is executed, and if only photographers had the advantage of exhibit ing their pictures in public a little more, their claims as artists would soon be undisputed. They will not be long without this advantage, and it may be well to record here the success that has been attained already by a single photograph, with the limited publicity at present at our disposal. We speak of “ Alone,” a picture that has drawn more criticism, laudatory and hostile, than any yet produced by the camera. When we visited Mr. Slingsby, at Lincoln, a few days since, he was still busy printing “ Alone,” and he will apparently be condemned to go on with the work as long as the negatives last. The compo sition is well-known to our readers ; a placid sea washes the foot of some white sandhills, and in the foreground, alone, is a dainty little lady in summer costume. One hardly knows which to admire most, the rare charms of the maiden, the bright seashore that stretches along the picture, or the smooth hillocks of sand, so fine and silvery that you long to pass it through your fingers. Mr. Slingsby has had no rest since he exhibited that picture on the walls at Pall Mall. It mattered little whether it was produced at Lincoln or Timbuctoo, said Mr. Slingsby to us : “ Only one copy has been sold at Lincoln, and that was never paid for.” But no picture produced by the camera has ever brought its originator such substantial reward, the sum already paid being more that that fetched by many a clever painting exhibited at the Royal Academy. In the words of an official accountant, we may say that we have examined Mr. Slingsby’s books, and find that £450 has already been received on account of “Alone,” and the popularity of the picture seems to be increasing rather than on the wane. This fact will be of interest to many, we are sure, if only to prove that an artist can make it pay to do pictures by photography just as well as with brush or crayon. Mr. Slingsby’s compact little studio is situated iu Lin coln’s principal thoroughfare. Lincoln, we need scarcely remind our readers, is a cathedral town, and Mr. Slingsby’s general work seems, somehow, to be influenced by the staid air of respectability that alway shovers around the vener able pile. Portraits of the Bishop of Lincoln, the new prelate of Truro, his Grace of York, the Dean of Ripon, and other eminent clergy, are notable pictures in the studio. In bright contrast to these somewhat lugubrious studies is a picture of “ Early Summer,” one of the first of Mr. Slingsby’s compositions, which was engraved in the Illustrated London News the very day that the first number of the Graphic appeared. Here is our host as King Henry VIII., and a comrade, M. Lafosse, of Man chester, attired as a cavalier. Here are opals. Mr. Slingsby does not employ the transfer process, but coats his opals direct with collodion, worked up with exquisite taste by our friend himself; for Mr. Slingsby is a water colour painter of some note, as excellent examples here testify, a circumstance that accounts very clearly for the success that has attended his efforts in photographic com positions. Further on, we come to some very fine heads produced direct in the camera , which have already been shown in the Crawshay competition, where they secured the artist a handsome money prize. Beside them, is a forcible
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