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THE PHOTOGRAPHIC NEWS. July 30, 1880.] 361 Oe Pqotograpbic Llchs, July 30, 1880. PHOTOGRAPHY IN AND OUT OF THE STUDIO. Db. TANNER—The Lrannina of the DARK Room—Puoro- GRAPuS at Exhibitions. Di'. Tanner.—Has this eccentric and now notorious indi vidual been regularly photographed during hisself-imposed penance? And, to use the language of a well-known advertisement, “ if not, why not ? " There is great room for diversity of opinion as to the wisdom or folly of the Doctor’s experiment; but, under the circumstances, there can be no doubt as to the desirability of securing some kind of permanent record as to the effect of starvation on the human frame. Supposing that each day a series of photo graphs had been taken, which should include a distinct view of every part of the Doctor’s body, anatomists in every part of the world would be enabled to trace out the consumption of each fatty deposit, and the wasting away of the various muscles under the influence of abstin ence. Such a series of pictures would not only possess a very great anatomical value, but would possess consider able physiological interest in very many ways. For such a series to possess its full scientific value, it would be neces sary for the photographs to be taken under the direction of a skilled anatomist, aided, perhaps, by an experienced physiologist, as it would be necessary to pose the Doctor in such a manner as to obtain indications of the state of those muscles and fatty deposits which have comparatively little influence on the external form. It is scarcely necessary to remark that it would be requi site to adopt the same poses and similar modes of lighting on each successive day; and it is probable that a series of ten or twelve photographs reproduced from day to day would prove capable of affording most of the information likely to prove of value to the anatomist, the physiologist, or the student of biology. It may be premised that isolated photographs representing the effects of starvation would be of comparatively little interest, but the series suggested would have a very great value indeed. A series of the kind referred to would, perhaps, be of utility to the artistic profession, but no doubt its importance in this respect would be quite secondary to its biological interest. Although it may be that the opportunity of securing such a valuable record of Dr. Tanner’s fast has been lost, it is still possible to secure a collateral series representing the recovery of the human frame from the effects of abstin ence. Both series read together by skilled interpreters could scarcely fail to throw much light on many points which are but imperfectly understood at the present time. Photography has already rendered a considerable amount of service to the various branches of science more or less afliliated to the practice of medicine and sur gery. The anatomist, the histologist, the physiologist, the osteologist, and the biologist, all make occasional use of photography as a means of assisting them in their studies; but it is, perhaps, in pathological science that photography is likely to prove of the greatest value. No systematic means appears to be taken for obtaining photo graphic records of the numerous cases of interest which occur in hospital practice. If in each London hospital a “photographic clerkship” were allotted to one of the senior students who might feel disposed to qualify himself for such an office, most interesting records might be obtained. Suitable dry-plate apparatus being kept in constant readiness, the patients concerned would bo sub jected to little or no inconvenience ;and the result, printed by the collotypic or Woodbury type method, would add greatly to the value of the hospital reports. The Lighling oj the Dark Room.—How diverse are the views of various photographers regarding this matter 1 Some work in depths of darkness watched over and guarded by several thicknesses of ruby glass, to say nothing of one or two sheets of orange or yellow j ust thrown in as a make weight ; while others boast that they can develop success ¬ fully in an apartment abundantly illuminated with yellow light. No doubt it is quite possible to work under these latter conditions—in fact, we have done it ourselves—but it is necessary to always shade the plate from the direct light of the window, and so far to guard one’s movements as to take away nearly all the comfort of possessing a well-lighted developing room. With a tolerably safe light one can work much more freely and comfortably ; and it is surprising how much one can see, even in the most dimly-lighted dark room, after the pupils have become thoroughly expanded. It is much to be desired that some definite information should be obtained as to the probable effect of the modern dark room on the eyesight, and more especially as to the effect of frequently passing from a bright light into a dim red light, and vice versa. Photographs at Exhibitions.—The authorities at the Sydney Exhibition appear to have given considerable dis satisfaction as regards the display of very many of the smaller articles, but photographers seem to have had especial reason for complaint. Many photographs sent for exhibition are said not to have been displayed at all, while others were so badly and inconveniently placed as to be practically inaccessible to the visitors. At the Dusseldorf Exhibition, on the contrary, the officials have duly recognized the industrial and artistic importance of photography. The collection of photographic work brought together in the artistic little town of Dusseldorf is, accord ing to all accounts, one of unusual interest and merit, although confined to work executed in Germany. Artistic groups, burnt-in enamels, enlargements in carbon or silver, collodio-chloride transparencies, photo-galvanography, col lotypic printing, and photo-mechanical processes generally, are well represented, but we do not hear much of gelatino- bromide work. The process in question certainly appears to be more extensively and universally employed in this country than on the Continent, although there are abund ance of Continental workers who are by no means behind hand as regards the excellence of results which they have obtained by the gelatine emulsion method. O— PRINTS FROM OLD NEGATIVES. BY THE AUTHOR OF " LOOKING BACK.” No. 6.—A Quiet Subject. This is a negative from which 1 sent a print to a young friend of mine, and he was so struck with the delicacy of the shadows and roundness of the whole picture, that he expressed a wish to know how I had achieved such results within the limited space of a small bedroom, with only one window. Thinking perhaps that others of your readers would like to learn a wrinkle or take a hint upon the same point, I give you now my experience with a “quiet subject.” We had had a heavy fall of snow; it lay quite three inches deep. Disease was aiding and abetting old Death in his fell purpose. When one went to the club there was nothing talked of but small-pox ; when one opened con versation in the studio, the typhoid mania, as a rule, ended the dialogue. There was no mistake—black Death was abroad and smiting old and young. It was a miserable day ! Black, cold, and grimy—your breath as you emptied your lungs appeared white as tobacco smoke—your clothes felt moist, and the apparatus felt sticky and clammy—indeed, it was proper day for a “ quiet subject.” “I hope it is nothing contagious?” I anxiously in quired, as I listened to the pleadings of the lady’s maid. “Only diptherial" was the answer, accompanied with a comforting assurance that once the breath was gone there was no chance of catching the infection—besides, they had Condy’s fluid placed all over the house. “ And missus says that you can make your own terms, so that you make a nice picture ! ” Oh, mammon—mammon I The phrase about the terms fetched me. “ Tell your missus that I will have the pleasure of attending to her orders in half an hour.”