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The photographic news
- Bandzählung
- 24.1880
- Erscheinungsdatum
- 1880
- Sprache
- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
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- http://digital.slub-dresden.de/id1780948042-18800000
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- oai:de:slub-dresden:db:id-1780948042-18800000
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- Parlamentsperiode
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- Wahlperiode
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- Bandzählung
- No. 1120, February 20, 1880
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
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Zeitschrift
The photographic news
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Band
Band 24.1880
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- Register Index 631
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Band
Band 24.1880
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- Titel
- The photographic news
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Many city houses are dispensing with the system of re" quiring their cashiers and accountants to give security, and, instead, request their photographic portraits. In some of the London banks the practice also obtains of requiring every clerk to deposit a photographic portrait with the directors, a considerable inducement to keep him in the paths of rectitude. Mr. F. W. Broadhead, of Leicester, has sent us a whole plate picture of the local pantomine. Harlequin, colum bine, clown, and pantaloon strike an attitude in front, and beyond is the transformation scene, with the usual grouping <of fairies. The fault we find with the picture is, that while a pantomimic scene is very bright, the photographic result is very dull. But we doubt whether anyone could have treated the subject with more skill than Mr. Broadhead has done, and, knowing his difficulties, we are surprised at the result. He has preferred haziness to painful sharpness, and has thus secured a bit of romance in his picture which, in a sharper photograph, would be absolutely wanting. Many of our readers will remember attempts made in Paris to photograph scenes at the Opera, but these were upon stereo plates, while Mr. Broadhead’s picture measures eight inches. By the way, if Mr. Broadhead had been ready with his camera at the Lyceum on Saturday night, he might have secured a picture of some three hundred celebrities in art, science, drama, and literature supping together, that would have made his fortune. Mr. Henry Irving was host on the occasion, and we have never assisted at a more congenial reunion. An extraordinary prize of 3,000 francs has been awarded by the French Academie des Sciences to Mr. Crookes, F.R.S., in recognition of his recent discoveries in Molecular Physics and Radiant Matter. Mr. Crookes was the first Editor of the Photogkapiuc News. A charming picture of a “ subaqueous explosion ” appears in Anthony's Bulletin. It is a photograph by the United States Engineers, showing the effect of a charge of dynamite exploding under water at Willett's Point, New York. The soft white spray, rising, apparently, a hundred feet into the air, is most delicately limned, and altogether the picture vies in beauty with the fine results of a similar character secured by the Royal Engineer photographers in this country. Our military authorities employ photographs of this kind to measure the energy of various kinds of torpedoes. Land marks—or, rather, water-marks—are placed about the spot before the explosion takes place, and then the photograph showing the upheaving of water in combination with these “ marks ” becomes a valuable record. The picture shows the height of the cone of water thrown into the air, as also the diameter of this cone at its base: the dis placement of water is then a mere matter of calculation. If charges of various explosives are sent to precisely the same depth, photographs of the explosives will soon tell you which are the most energetic of them. Vopits of the Hay. ON PROPORTION IN PORTRAITURE. BY VALENTINE BLANCHARD. Novelty is all-important to those who desire successfully to “ shoot folly as it flies.” This being admitted, the question immediately arises : In which direction shall we search? Various paths are before us, but there is no art finger-post to guide us. Various experiments have been made during the past few years with varied success to introduce new sizes into photographic portraiture. Almost immediately on the introduction of the carte portrait many years ago the rage followed, and spread to every country where the photographic art was known. But for many years nothing but the full-length was attempted, and we must all admit that the proportions of the opening in the carte album was all that could be desired for that style of portrait. After a time came repletion. It became possible to have too much of a good thing. It was found that whilst the balloon like crinoline or the sweeping train could fill out the picture without much difficulty, it required all the aid of balcony and pedestal, and much besides, to sustain with anything like an approach to dignity the knock-knee’d or spindle-shanked aspirant for photographic immortality. A desire to see the features much larger sprang up, and boots and flounces were ruthlessly sacrificed, and the half-length became the fashion, but to give place in turn to the bust. The face, however, still continued to grow with enormous rapidity, and in a short time the head filled up the whole of the album aperture, and the body disappeared altogether. It was during the rage for busts and “ Rembrandt" heads that the proportion of the carte opening was found so unsuitable, and the late Mr. Window introduced the cabinet size. This novelty was readily adopted on the Continent and in America, but it made its way very slowly in this country, and it was only in consequence of its suc cess abroad that it finally made headway here. Mr. Faulkner, one of the chief of our art-pioneers, has always protested against the slavish adherence to one size for all proportions of the human figure, and many years ago designed a photographic album, with openings varied to suit the requirements of the bust, the half-length, or the full-length. This he did at considerable cost to himself, and solely with a view to get others to adopt the improve ment. His labours have borne fruit. The openings in the modern album are more varied, but still in this direc tion there is yet much to be done. On glancing at a modern album, one may not inaptly quote Brereton’s lines on Beau Nash’s full-length portrait placed between busts of Newton and Pope :— « The picture placed the busts between Adds to the thought much strength; Wisdom and wit are little seen, But folly's at full length." About five years ago the size known as the boudoir por trait was suggested by me, and considerable trouble was taken by an eminent publishing house in London to make the new picture popular. It has, however, only slowly taken root here, whilst in America, where samples were sent, a modification almost immediately appeared under the title of the “ promenade portrait,” and in Germany, and more particularly in France, the new size is becoming rapidly popular. Like the cabinet portrait, it seems des tined to come back to us from over the water. In the late Photographic Exhibition there were several new sizes intro duced by Sarony of New York, which were very much admired. In this paper I desire more particularly to dwell on the importance of some approach to a rule for guidance. The portrait-painter starts with a proportion for his full-length, well tried and well proven by those magicians of the brush who have left the imprint of their genius on art for
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