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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. 1146, August 20, 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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398 THE PHOTOGRAPHC NEWS. [August 20, 1880. Et fume, MR. JABEZ HUGHES AT REGINA HOUSE, RYDE. The “regal establishment’’ of Mr. Hughes, its square white tower rising above the green trees of Ryde, is not unknown to many of our readers. The prominent site and elegant construction—a pile of Portland stone and pale brickwork—standing, as it were, on a pedestal in the middle of a bright little town, tell much for the position and emoluments of photography now-a-days ; and approaching from the pier, one hardly knows which to admire more, the straight lofty fabric, or the idea of choosing such a beauti ful spot as Ryde for its construction. The studio is built at the top of the green fringed hill upon which the town stands, and in consequence Mr. Jabez Hughes enjoys the unalloyed satisfaction that his light cannot be interfered with. There is surely no credit in making pretty pictures in such a pretty spot, and we tell Mr. Hughes so. Look at those garden-bordered quays, and the sunlit waves dotted with yacht-sails that drive like snow-flakes over the blue water; see the delicate rigging of that big ironclad, “ The Hercules,” running down the Solent on her way to Port land to join the Channel Fleet, and far-off Osborne Point, covered With yellow-green foliage that seems to dip down to the water’s edge. From here you can just see the twin towers of Osborne House rising above the woodland slope. Now turn round and look across over the strait at Ports mouth town, that lies lit up in the sunshine yonder, between the low green batteries by the harbour; aud look, too, at the brown hills beyond, with great niches of white where the chalk quarries are. Glance your eye right and left at the azure sea, and the tiny black forts jutting out of the water like “ beauty spots ” upon the face of a blue-eyed belle. The Queen’s photographer cannot help making beautiful pictures under such influences, we say, though 'tis true we once did hear of another reason why good photographs are taken at Ryde; it was given us by a mutual friend—no other than Mr. Toole, the comedian— and he told us it was because they got Hughes to it. We walk up the street to the studio in cgmpany with our host, and enter the handsome reception room. Here is something of which the owner of Regina House may feel even more proud than of anything we have yet noticed. Every carte and cabinet picture is printed in carbon. Permanent pigments have ousted silver ones in Mr. Hughes’ establishment, and the countless pic tures in the show cases are all of them carbon prints. We believe Mr. Hughes is alone in being able to make the proud statement that here appears: “Every portrait is produced in permanent photography, and will never fade.” Air. Hughes prints by a chromotype process of his own—if chromotype it can be called, when the prints are produced unglazed, and without a margin. In other words, the negative is not reversed, but printed upon carbon tissue, which is developed on collodionised glass. The opal plate is simply rubbed with French chalk before the collodion is applied, and then there is no difficulty about separating the latter when it comes to the transfer process. In the end, the glaze upon the surface is re moved with moisture, and in this way carbon prints are secured quite equal, apparently, to those by the single transfer method. “ I have said I always employ permanent pigments in general work,” said Mr. Hughes ; “ but that is not strictly true. I do print from my negatives with the fleeting silver Process, but only the unfixed proofs supplied for approval. may say, therefore, that I utilize in their proper sphere the fading as well as the permanent process.” Mr. Hughes turns this preliminary printing in silver to further account, for it affords him a valuable criterion of the density of his negatives. He employs Durand’s paper, which is very uni ¬ formly sensitive, and he knows that his carbon tissue will require just oue-third the amount of printing that is neces sary for albumenized paper. While on the subject of print ing, Mr. Hughes also said a good word for platinotype, which he employs for special work, the results of which he likened in character to prints upon fine salted paper. As to reticulation, we asked. Mr. Hughes would admit that he was sometimes troubled with this defect, but not frequently. There were two kinds, he said ; one of a mecha nical nature, which arose possibly from a tenderness of the gelatine, and which could, with care, be kept under con trol, the use of spirit being a very general remedy; the other was due to decomposition, and to cure that was im possible. He preferred keeping his carbon tissue two or three days after sensitizing ; the results were then much I more uniform and certain. ' We have spoken hitherto of the general work, but Mr. । Hughes has also a speciality in the shape of his large collodion transfers. Indeed, at Regina House, the usual order of things is reversed. While the small work is all 'printed in carbon, the large is done by collodion. Mr. i Hughes assured us that for the past twelve years he has I taken no portrait negative bigger than a cabinet ; if larger pictures are desired, these are invariably produced by the collodion process. An upper studio at Regina House con tains little else but enlarging cameras for this kind of work. There cannot be a simpler enlarging process, argued our host; the negative is simply placed in the camera, and an enlarged positive is taken, which is toned and worked up as required. In other processes you have a transparency to prepare and work up ; from that you produce a negative, which must also be worked up; and, finally, when you have secured your prints, these have to be worked up into the bargain. But we have meanwhile progressed no further than the reception room. We now pass on, glancing into the well- appointed dressing-rooms on our way to the forecourt of the glass room, all of which are on the ground floor, with a garden parallel with the studio. It is delightful to linger here, especially this hot summer’s day. There are ferns and fresh ivy, and a plashing little fountain among the rock work and greenery. Some rustic garden seats are at hand, and altogether the cool grotto-like aspect of the place is exceedingly pleasant. But we cannot afford to lose time, and enter the glass room. It is an apartment of handsome dimensions, measuring 35 feet by 20, and it is, moreover, some 18 feet high, its size is the more striking from the fact that it is unencumbered with furniture. The lighting is North, and, as we see it now, the only illumination that enters is a high side light. Above is an ordinary ceiling, and no skylight at all ; but inasmuch as the side wall, after rising some ten feet, slopes inwards towards the ceiling, and this slope is glazed, sufficient light comes in to give a soft, subdued illumination all over the apartment. This upper part of the side wall is covered in with dull glass of a greenish hue, known, we believe, as “ Hartley’s patent rolled,” and in consequence there is no definite top light, as would certainly be the case if clear glass were employed instead. The lower part of this North side of the studio is also glazed, but at present screened with thick curtains, which are withdrawn in part after the sitter has taken his place. The light that enters from above is sufficient to illuminate the model over all; side light is then employed to give a definite effect, to point high lights, and to throw shadows. Not a ray of sunshine ever enters Mr. Hughes’ studio, so admirably is it constructed, while, nevertheless, its illumination is so perfect that the most rapid exposures may be given. The full advantage of all this is realised when we remember that there is no puffing and blowing to climb to the top of the house, aud no sweltering in a hot glass room when you arrive there, for Mr. Hughes’ studio is in no sense a glass room ; everything is cool and quiet, with a pleasant look-out on the garden through the .large door-windows. The studio furniture is in every case
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