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The photographic news
- Bandzählung
- 24.1880
- Erscheinungsdatum
- 1880
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- Englisch
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- F 135
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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. 1143, July 30, 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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- Titel
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July 30, 1880.] THE PHOTOGRAPHIC SEWS. 367 the number of pictures required in the series), and then the first picture was secured. Before the second was taken the fly-wheel was pulled round one-thirteenth its circum ference, the governor, the piston, and other portions of the engine, of course obeying the motion, and moving in a corresponding degree ; a second picture was then obtained, and so on for the series, until after the thirteenth, the wheel was back again to the position whence it started, or nearly so. Sir Charles Wheatstone's instrument was of a stereo scopic nature, and the pictures taken were, therefore, stereo scopic also ; they were duly mounted and fitted into the instrument. The result was very perfect, so far as the steam engine was concerned, fly-wheel, governor, and pis ton working with much smoothness. The only drawback was the speed—the engine moved too slowly. It always seemed as if there was not sufficient pressure of steam, and that the engine was about to give over working. The same defect was apparent in a series of pictures which we also prepared for the instrument, representing a soldier carry ing out the order, “ Shoulder arms! ” The man in the pic ture went through the motions too leisurely, and would certainly have been chid for lack of smartness by his officer. But the principle was found to be good, and we here set down the circumstance as one, at any rate, worthy of record. Elotes. The Rev. [Mr. Statham’s pleasant speech on Saturday last, on the occasion of the dinner in celebration of the twenty-first anniversary of the South London Photographic Society, was marked by many happy points, but the happiest of all was the touching allusion to photography in cementing social ties. The photographic portrait was a wonder-working talisman, and in possessing it the claims of friendship were never forgotten ; it drew closer the bonds of sympathy, it kept our love warm. How much of effective and tender memory was there embodied in a single photograph ! The photographing of prisoners, which is now in the hands of governors of prisons, is shortly to be put under the charge of the Director of the Criminal Investigation De partment at Scotland Yard, who will lay down definite rules to be followed in making the photographs. The models are all to be taken of the same size, and from a certain standpoint, in order that they may present greater facilities for recognition. The time chosen for taking criminal portraits is one month prior to the prisoner’s liberation, and as a man is allowed to grow his beard within three months of his release, the resulting picture generally shows plenty of stubble about the face; this aspect is naturally misleading, and the period is therefore to be changed. The proposed change will, it is hoped, have the effect of instituting a more uniform system of portraiture in prisons. There is no reason why, in the vast albums at Scotland Yard, the sitters should not all be depicted on the same scale and under similar aspects. We trust when Mr. Howard Vincent takes the matter in hand he will make full use of the facilities which photography can give him in this connection. In speaking the other day of the ability of nitro glycerine to dissolve gun-cotton, we mentioned that touching the film causes headache. At Ardrossan, where the British Dynamite Company have their works, and where large quantities of nitro-glycerine are made, the workpeople, who are chiefly women, suffer from a species of sea-sickness for days, or even weeks, when new to the work ; but the malady, like the unpleasant mal de mer, disappears, curiously enough, after a time, in the same way as people become good sailors on a long voyage. “ And, do you know ?" said the worthy President, turn ing to the art aspect of photography, “ I cannot help think ing, when I visit the Royal Academy year after year, that I can trace the influence of photography in the portraits I see there. People may say what they choose about the art-value of photography, it will scarcely be denied that painters now-a-days avail themselves largely of the camera’s aid, and it would be foolish, indeed, were they not to do so.” Mr. Whaite, who has the management of Mr. Mayall’s establishment at Brighton, has conceived the happy idea of protecting the eye from the ruby light of his developing lamp. Ilis lamp is a large one, provided with a powerful oil flame, and with panes of clear ruby glass ; it conse quently illumines the studio most completely. He, how ever, never sees the flame itself, and it is this, particularly, that distresses the eye. To mask the flame, there is hung in the most simple manner outside the lamp a piece of cardboard, pear-shaped in form, which is so adjusted that it gets between the eye of the photographer and the flame. If made sufficiently large, one may move about the labora tory and never catch sight of the objectionable red flame at all, A point of some interest has recently arisen on the sub ject of giving medals or prizes for photographic portraiture. It is contended, and certainly with a good deal of truth that if judges are unacquainted with the sitter, they can not form a correct opinion upon the subject of a portrait. “ What a good picture that is of Buggins Brown— precisely the way he always holds his hands,” says A, a dictum which B confirms with: “Yes; Buggins Brown, so it is—of course, just like him—those heavy eyelashes are very marked." Consequently A and B give their votes in favour of the portrait of Buggins Brown for the main reason that they have recognised him, while other pictures—just as good portraits in their way—are passed over, simply because the sitters are not personally known to the sapient judges. Obviously, foreign photographers, or those from a dis tance, are placed at a disadvantage, for their sitters have less chance of being recognised. We think, on the whole, therefore, that there is some justice in the cry that an award ought never to be made for a portrait, but that the merits of the picture as a.study should alone determine its value in the eyes of the judges.
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