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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. 1155, October 22, 1880
- Digitalisat
- SLUB Dresden
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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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October 22, 1830. ] THE PHOTOGRAPHIC NEWS. 511 photography, and how rapidly it is treading on the heels of engraving. Messrs. Lock and Whitfield exhibit several fine and vigorous portraits, and one study,“ Afternoon Nap ” (131), which is a bit of very nature. Mr. A Debenham shows a forcible portrait of Tracey Turnerelli, of golden wreath renown, and several studies, of which, perhaps, “ The Wan derer ” (110) and “Looking to Windward” (111) are the best, although the “ Wanderer” appears, perhaps, a little too well-fed and contented as wanderers go, and the sailor’s dress and appearance suggest anything but dirty weather. “A Study of a Lady in White ” (204), and the “ flower Gatherer ” (208)—the clear soft features of the latter especially—are the embodiment of very fine work indeed. Mr. S. Fox shows his skill in Wick Hall, Brighton (113), and Mr. T. F. Lloyd contributes a frame of neat little sketches, “ Studies of Children ” (132). Mr. H. S. Mendelssohn’s Rembrandt Studies ” (119—123) are likely to command a good deal of attention. One fair face in a bonnet is rendered with exquisite art and grace ; the soft cheek and clear eyes are eloquent of sweetness and beauty. The artist is here very manifest, and his work compels admiration. Mr. Mendelssohn achieves success by his masterly lighting, which is soft and pure, rather than brilliant and vivid. Messrs. Hillsand Saunders’ contributions (135. 232, 233) comprise a fine carbon enlargement upon opal (135), a pic ture similar to that which gained a medal last year. It is a portrait of a lady most delicately limned, the white lace and drapery and parasol all rendered with exquisite softness and finish. A frame of cabinet portraits also deserves mention, alike for the skill in posing as for their unconventional treatment; no two backgrounds are alike. M. T. R. Annan shows an enlarged portrait, in carbon, of the late Dr. Barclay (133); and Messrs. W. and D. H. Fry (134), in some panel portraits, demonstrate that they can skilfully treat difficult subjects, as the models in white here shown, undoubtedly are. Messrs. Lombardi and Co. exhibit several phases of good work upon opal and paper (138, 147, 254, &c.). Messrs. E. Day and Son send “Robin Redbreast at Home” (139)—something of a feat in photography, the chubby little fellow sitting stolidly upon a branch of fir. A snow scene (245) by the same firm makes a pretty Christmas picture. The best of Mr. E. Gregson’s por traits is the girl on the swing (150). Messrs. Wratten and Wainwright (151) exhibit a tour de force in their en largement of a group of soldiers, everyone of whom is sharp and clear, the negative, we believe, being by Mr. Cowan. “ Reading to Granny ” (165), by Mr. W. Gillard, is a picture on which, evidently, a great deal of pains has been spent ; it is a composition picture—an old lady listening to her grandchild reading. The conception is better than the treatment; the old lady’s face is a capital study, but the girl is hardly reading. It is an ambitious attempt, and if Mr. Gillard has not been completely successful in this particular instance, we hope he will not be discouraged thereby. Mr. Parkison exhibits a group taken by electric light. Mr. Ritchie shows some of the results of his arabin emulsion, among which are a pair of excellent pictures—taken on emulsion—two years old (234). Some instantaneous views of shipping, “ taken on board a steamer going nino knots an hour,” are also well worth looking at. Mr. G. W. Williams’instantaneous views of “ Margate Sands ” (170) remind one of a picture by Frith ; they are full of life, and clear and sharp to a degree. They betoken not only skilful manipulation, but a thorough knowledge of lighting ; the busy groups of holiday makers are not simply black silhouettes, but animated beings whose features almost can be studied. Mr. John Hazard showsa typical “ Wedding Group ” (172), and some winter views. Mr. G. E. Alder (177, 263, &c.) is represented by several excellent frames of portraits taken by the Luxo-, graph light, for the most part characters from fancy dress balls. Half-a-dozen pictures are shown by Mr. James McGhie, of which the best is (199) the “ Falls of the Clyde,” the transparent character of the falling water being rendered with much skill and taste. The “ Arch of Septi mus Severus ” (200), at Rome, is also a clever bit of work. Motes. I MH I »i — An International Exhibition opens in Vienna in January, to which British photographers are invited. Mr. Spiller, as will be seen in another column, has lost no time in discovering what was amiss with some of the shining black cards upon which panel portraits are mounted. The most brilliant of these cards were found saturated with common salt, a body that attracts moisture sufficiently to account for deterioration in the mounted picture. A solution of silver, as everybody knows, is one of the readiest means of detecting the presence of salt, so that every photographer has the test in his own hands. The soft subdued lighting of Mr. Mendelssohn’s por traits in the Exhibition is the subject of general remark. We pointed out, immediately after a visit to that gentleman’s establishment at Newcastle, that Mr. Men delssohn has not a square inch of I bare glass in his studio: He has few curtains, but covers the whole surface of his glass with tissue paper. This can be replaced in an hour if it gets yellow and dirty, while soiled ground glass is very troublesome to clean. A play has been produced in America in which a faded photograph supplies the means of identifying the hero after years of oblivion. It seems strange that recent playwrights should not more frequently call upon photography as a Deus ex machina, for the purpose of solving a complicated plot. In our experience, the Octoroon is the only English drama in which this is done. And in this case, the author, Mr. Boucicault, has made a very silly mistake. While a person is having his portrait taken, a man suddenly appears from behind, and murders him. The sensitive plate thus secures .a picture both of victim and murderer; but as the camera is subsequently knocked to pieces, and there is no talk about development, it is not very clear how the photographic proof of this far fetched action is forthcoming. Perhaps this abortive at tempt of Mr. Boucicault to employ photography as a dra matic incident has acted as a deterrent to others. Tn all cases of « police supervision,” it is now an invari able rule to register a photograph of the habitual criminal. When released from prison, the convict under “super vision ” may reside where he pleases, but is compelled to name the police station at which he proposes to report himself from time to time; and so that he may be better under the eye of the police at a provincial town, the chief constable is provided with a photographic portrait and a schedule of particulars concerning his charge.
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