1856 LIVERPOOL PHOTOGRAPHIC JOURNAL vol. III
Ver: Sept. 5, 2024
NOTES:
TRANSCRIPTION CONVENTIONS:
--Italics have been retained from publications, which uses them for both titles as well as emphasis. To more easily locate image titles, I have continued this italicization when titles have been rendered in all capitols or put in quotes, however italics have NOT been used when the general subject of an image is mentioned.
--Photographer’s (or potential photographer’s) names have been bolded – see also below under "Names"
--Brackets [ ] are used to indicate supplied comments by the transcriber; parenthesis
( ) are used in the original sources. If the original source has used brackets, they have been transcribed as parenthesis to avoid confusion.
--Spelling and typos: Nineteenth-century spellings occasionally differs from currently accepted norms. In addition, British spellings also differ from American useage. Common examples are: "colour" vs. "color"; "centre" vs. "center" and the use of "s" for "z" as in "recognise" vs. "recognize. While great care has been exercised in transcribing the 19th-century journals exactly as printed, "spell check" automatically corrects many of these differences. An attempt has been made to recorrect these automatic changes, but no doubt some have slipped through. As for typographical errors, these have been checked although no doubt some have managed to slip through the editorial process. For matters of consequence, I will be happy to recheck the original sources if need be for specific references.
-- Technical articles: For the most part, articles discussing technical aspects of photography, products, etc. were not transcribed unless they are part of a larger article covering photographs. When technical descriptions are too lengthy to include, that has been noted. Exceptions have been made as the transcriber saw fit.
--Meetings of Societies: Names of officers, members attending or referenced, dates and locations of meetings have been given. The first and/or earliest meetings recorded have been transcribed in full. Beyond those early years, only if the reports are very short or discuss photographs, have the articles been copied in full; if administrative or technical in nature. Although not always possible due to time constraints on borrowed materials, when possible, I have included at least the dates of society meetings and any photographer’s names listed.
-- Related, contemporary journals: e.g., The Art-Journal, cover both photographer as well as painting, drawing, sculpture, etc.. As they frequently refer to the production of both the photographer and the painter as "pictures" it is not always possible to tell when photography is indicated. If there is doubt, these articles have been included and the names bolded, but the individuals may, in fact, not be photographers.
NAMES:
--All photographer’s names have been bolded for easy location. EXCEPTIONS: While it is likely that people working with photographic equipment and techniques are also photographers some discretion has been used and not all such names have been bolded. Names of honorary members of a photographic society are assumed to be photographers and thus bolded, when in fact, that may not be the case. Names mentioned in connection with meetings of non-photographic societies have not been bolded unless there is a known or suspected photographic association. A computer word search, however, will still enable the researcher to locate any references to specific names.
--Names: Given abbreviations for titles such as "M" for "Monsieur", etc., it is not always possible to tell if an individual’s first name or title is being abbreviated. Thus, especially with non-English photographers, too much credence should not be put into an initial that could also serve as an abbreviated title.
--It is not always possible in lists of photographers to know when two separate photographers are partners or not, e.g., in a list, "Smith and Jones" sometimes alludes to two separate photographers and sometimes to one photographic company. Both names will be highlighted and indexed but a partnership may be wrongly assumed. Any information to the contrary would be appreciated.
NUMBERS:
--Numbers referenced in the various journals can refer to either the photographer’s image number, or an entry number in an exhibition catalog. When the number is obviously is obviously that of the photographer, it is included in the index under the photographer’s name, whereas exhibition numbers are not.
1856: LPJ Oct. 11, vol. II, #34, p. 142:
The Revue Photographique contains very little of novelty, except a description of the Photographic registration of the magnetic phenomena at the Imperial Observatory, and an account of the Exhibition at Brussels, which may possibly appear in our next. The Bulletin Francaise has not yet been received.
1856: LPJ, Dec. 13, vol. III, # 36, p. 167:
Ghosts In The Stereoscope: Sir David Brewster says: For the purpose of
amusement the photographer may give a ghostly aspect to one or more of his
figures, and exhibit them as "thin air" among the solid realities of the
stereoscopic group. While a party is occupied with what is serious or gay, a
figure, male, female, or animal, may be made to appear in the midst of them
with all the attributes of the supernatural. The figure might occupy more
than one place in the picture, and different individuals might be made to
gaze upon one or other of the visions before them. For this purpose the
individuals in the group must have their portraits nearly finished in the
binocular camera, in the attitude and with the expression appropriate to the
occasion. The figure or figures, suitably attired, must then walk quickly
into the places assigned them, stand a few seconds in the proper attitudes,
and retire as quickly as they entered. If the experiment has been well
performed the intruding figures will be shadowy and transparent and will
have the appearance of supernatural personages. If one of the lenses of the
camera be shut up during the latter part of the operation, the shadow
figures will be formed only on one of the pictures, and they will be flat
and without relief, if required. The beautiful effect of dissolving views
may be obtained by executing binocular dissolving pictures, and combining
them in the stereoscope, so that all the figures and objects may appear in
true relief."