PHOTOGRAPHIC TRANSCRIPTIONS
1857
PHOTOGRAPHIC NOTES, vol. II
NOTES:
--Italics have been retained from publications, which uses them for both titles as well as emphasis. To more easily locate image titles have also been italicized, whether or not they have been rendered in capitals or quotes in the original. Italics have NOT, however, been used when only the general subject of an image is mentioned.
--Image numbers listed in articles can be either an entry number in an exhibition, or the photographer’s own image number as found on labels. It is reasonably safe to assume that when a photographer’s works are being reviewed and numbers noted, they refer to the image whereas numbers referenced to given works in an exhibition, are exhibition entry numbers and are not the photographer’s.
--All photographer’s names have been bolded for easy location. Numbers frequently refer to the photographer’s image number, but can also refer to a number in a catalog for a show. Decide whether to bold or not if can tell.
--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.
-- 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.
--Articles by photographers about technical matters – only name and titles have been listed. IF AT ALL. If other names are associated with the paper they are listed as well.
--Meetings of Societies – Names of officers, members attending or referenced, dates and locations of meetings have been given. If the reports are very short or discuss photographs, then the articles have been copied; if administrative or technical in nature, they have not.
-- Some journals, e.g., The Art-Journal, cover both photographer and painting/drawing. 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, it will be included but a note will be added stating that the names listed may in fact not be photographers.
--Mostly articles totally discussing technical aspects of photography, products, etc. are not transcribed unless they are part of a larger article covering photographs. When technical descriptions are too lengthy to transcribe that is noted.
PHOTOGRAPHIC NOTES:
1857: PN Jan. 1, 1857, #19, p. 24-26:
First Exhibition of the Photographic Society of Scotland.
The First Exhibition of the Photographic Society of Scotland opened at Edinburgh on Saturday the 20th December, with a Collection of a very extensive kind amounting to nearly a thousand Specimens. In every department of Photography:--Landscape—Portrait—Conversation pieces—Hunting Scenes, the display was varied and beautiful and the feeling universally expressed was, that the Exhibition was worthy of the Society, and of Scotland.
The attendance at the opening was good, and the attractions of the Exhibition appear to increase: while the amount of photographs sold is already very considerable, evincing a great and increasing interest in the results of this fascinating art. For many of them, in fact, the demand is such that it will take a considerable time to furnish the requisite supply. In this first notice, we mean to confine ourselves to the department of Landscape, leaving Portraiture and Compositions de genre, as the subjects of a second; merely observing in passing that the Exhibition is rich in both Classes of Subjects, and that a series of Scenes connected with Deer Stalking, by the Vice President Mr. Horatio Ross, to whom the Camera and the Rifle appear equally familiar, are extremely original, truthful, and interesting in their character.
It is very evident that the public taste, so far as Photography in Landscape is concerned, now leans decidedly towards the delineation not so much of Architectural Scenes as of those bits of nature and passages from rural scenery and life in which Great Britain is so peculiarly rich, whether in its wilder or more cultivated aspects. While the resources of the art were comparatively undeveloped, and particularly before the marvelous results of Collodion in obtaining minuteness of detail, had been discovered, Architecture afforded almost the only subject to which Photography could safely be applied. In Architecture, particularly the Architecture of Old Continental or English Towns, the tints were generally homogeneous; the difficulty occasioned by the different reflecting power of buildings and trees or verdure, as to their actinic agency, was little felt; hence almost all the talent of the art was directed to the reproduction of such scenes. Rome, Florence, and still more Venice, where every mouldering Palace with its reflections in the Grand Canal, or the Canareggio, formed a Picture of itself. Cologne, Ghent, Brussels, or Neuremberg, were ransacked for facsimiles of the beautiful originals. And even now, when increased appliances have enabled us to contend with the difficulties which arise from dealing with colours of entirely different reflecting powers, the charm attending the truthful portraiture of these antique or mediaeval remains is in no way forgotten.
This Exhibition contains a series of pictures of this class, of a very masterly kind: pictures which, if they could be placed within a covered space and viewed with the aid of a magnifying glass on a large scale, would almost impress on the mind the feeling of the real scenes among which we had wandered. Such are the magnificent ( [sic] wax-paper pictures of Venice, by Lorent, of which the top of the Grand Canal (No. 22) with the Roman Palace on the one hand, and the Dogana on the other, is absolutely perfect, except for a sky somewhat overprinted. Of a different kind, though not inferior in effect, by the same artist is a charming old dilapidated Palace, opposite the Santa Varia dell’orio (No. 2) all battered and visibly crumbling with its marbles into the water, with shadows deep and Rembrandt-like, yet transparent; a picture in fact composed for the Artist’s hand. Placed beside these splendid Pictures of Lorent, we are bound to confess that the earlier views of Venice by Ponte and Bresolin, clever as they were, are comparatively unartistic and unsatisfactory. Nothing has impressed us more with the capabilities of waxed-paper, as to artistic effect when applied to Views on an extensive scale (and several of these are upwards of two feet in length by 18 inches in height) than these Photographs, while the difficulty of manipulating sheets of this great size in the different baths must have been of a very formidable kind. It would, we think, be desirable if some one acquainted with the detail, would state whether any mechanical aid is used in the preparation of these large Wax-paper pictures.
While on the subject of the waxed-paper process, and its application to Architecture, we may also notice several very fine specimens by the Honorary Secretary, Mr. Kinnear, such as the Lorenz-Kirche, at Nuremberg (344)—the House in the Pellersche Platz (135)—the Great Door of the Lorenz-Kirche, (356)—the view of the Alps from the roof of Milan Cathedral (426) all by the same; the Doorway at Rheims, by Mr. Sutton, (276); and another of the same subject b y the same (286); and a most vigorous and powerful Picture by Dr. Keith, (341) Pillars at the Cathedral of Iona.
The Exhibition also contains some very fine Architectural Subjects on a large scale, executed by the Collodion process. The interior of the Court at Heidelberg, the Ritter Saal (No. 7). And the older portion, of the time of Otho (334); the Stotzenfels (337); the beautiful Parisian Architectural Subjects of Baldus (62); two enormous and exceedingly clever (Collodion) Views of Gouroch and the Broomielaw (155 & 157); a series of exquisite Photographs by Macpherson, of the Roman Ruins.—Scenes also from Florence and Pisa:--among others a very fine interior of the Campo Santo at Pisa, by Alinari (112), and on a small scale a little Architectural Gem, by the Revd. H. Holden (No. 325) the Feathers Inn, Ludlow,--these with many which we cannot stop to particularize, though we would willingly have dwelt on them,--amply sustain the place which Photography has always held in the representation of this class of subjects.
But we turn from these, clever and interesting as they are, to a class of subjects still more attractive, and to which, with the increasing resources of the Art, it is evident that popular attention and popular feeling is becoming daily more and more directed: we mean the reproduction of scenes, which, instead of wandering in search of them on the Continent, or even at a distance form home in our own Country, every man with a feeling of nature and an eye for art, can find within a mile or two of his own home. The beauties of the little nooks and corners of British scenery; the Cottages and Hedge-Rows; the quiet Pools with their reflexions of images on their banks; the Corn-fields backed by Beeches or Elms; the worn-out Water-mills with wheels “in most admired desordre”—the Old Churches, ivy tufted, and embosomed among Yews and Sycamours; these are the things to which the eye accustomed to view nature with delight, or to sympathise with its most perfect representation through the pencil of the Sun himself, will always turn with the strongest interest in any Modern Photographic Exhibition.
And all these have found in the present Exhibition, conducted under the auspices of the Edinburgh Photographic Society, the most perfect representatives. ON a large scale there are a series of first rate views in Scotland, by Fenton, the fruits of this year’s visit. Many of them are of the highest excellence. Mill at Castleton Bræmar (289) with exquisite rocky detail: on the Feugh, Banchory (291); Roslin Chapel, South Porch (293); two Views entitled Evening (288 and 296); Bed of the Garrawatt (469); Hermitage Bridge, Dunkeld (478)—are among the most conspicuous where all are artistic in a high degree. We cannot help thinking however, that Mr. Fenton wasted his time in reproducing such uninteresting subjects as 474 and 477—Cottages, near Berwick,--clever as the execution of the Photographs may be.
On a smaller scale, yet to our minds even more beautiful, are the exquisite Collodion Landscapes of Henry White. His contributions are numerous; dealing little with Architecture, and chiefly delineating corn-fields, woody glades, the banks of rivers, with reflexions of trees or water plants in still pools, hedge rows with all their trailing weeds and brambles; bits which any one who looks for them may encounter almost at his door, and yet producing a magical impression by their blending of detail with general effect. The beauty of tone in these Photographs, produced we should think by a liberal use of gold in the toning bath, is conspicuous. It forms the happiest mezzo tinto we have seen between the brown tone of some of the surrounding pictures, and that black tint in which the French deal so liberally, but which we have never been able to admire. The finest we think of White’s is (345)—The Decoy, an exquisite river scene, with long reeds and a back ground of wood. Scarcely inferior are (90) Shelling Peas—(94) Rye-field, a fine tranquil effect of light and Shadow—(96) Wheat-field—(101) The Moor hen’s haunt—(108) Beeched—(98) The Thames near Maybridge, Surrey—(255) The Cottage Porch. These are but a small part of the rich contributions furnished by Mr. White, and we are glad to find that the demand for copies has been considerable. Immediately above Mr. White’s “Decoy” is a very beautiful Collodion Landscape at Rydal Northumberland, photographed by Dolamore and Bullock. To these names must be added the Revd. H. Holden, whose Views of Durham Cathedral with the wooded bank and the river (236) in particular are excellent; two excellent Collodion Views (211) the Old flood Gate, Arniston, and (208) Study of Trees, Arniston, by an Amateur; several of great promise by G. W. Tytler; a frame (No. 74) containing four very fine small pictures by J. W. G. Gutch; two very powerful pictures of a Highland Forest, with strange Clustered firs, by Horatio Ross (Nos. 413 and 417): two beautiful views of the Bridge of Don and of the Granite Quarries, Aberdeenshire, by George Wilson; another frame (No. 327) containing eleven small views (some very good) by John Sturrock, Junior. We feel that in this rapid enumeration we have omitted to notice many others—not inferior perhaps in excellence to those we have named: but space fails us.
While doing justice to the wondrous detail which may be obtained by the Collodion process, it is very gratifying to observe that in artistic effect some of the specimens of the ordinary Calotype process, and the Wax-paper process, which are here exhibited, can scarcely be said to be inferior in artistic effect. Among the specimens of Colotype some of the Contributions of Henry Taylor, particularly (174) Wild Hope,-- the Revd. T.M. Raven, Thomas Davies, William Walker and RT. Murray are excellent. They are quite equal if not superior to the best specimens of the Waxed-paper process which are here exhibited beside them: in sharpness of definition, and in gradation of distance, we are inclined to say superior. The Waxed-paper contributions are also most satisfactory. The rustic-Scenes of Herries, and the Landscapes of Fitt and Signor Caneva leave little to be desired;--and it would be difficult for the admirers of the Calotype and Waxed-paper to claim any decided superiority for their respective processes in the present Exhibition.
(To be concluded in our next).
1857: PN March 15, vol. II, #23, #23, p. 104-105:
Review.
Photographic Art Treasures, Part 2 [Part 1 = Nov. 15, 1856] – Photo-Galvano Company, Holloway.
A more agreeable task rarely falls to the lot of the Journalist than that of calling public attention to the first results of a new and promising invention. We have before us the second part of an Album entitled “Photographic Art Treasures,” containing four fine proofs which have been printed in the ordinary way from copper plates, produced from photographic originals by the joint action of Light and the Galvanic Battery. This new patented process has received the title of Photo-Galvanography. By its means, and the help of Photography, the image formed in the Camera Obscura may be engraved on Copper. Natural objects may thus be copied by the agency of Light and Electricity, and proofs struck off in printer’s ink from the plates so produced.
These proofs are of course not liable to the defect of fading, which forms so serious an objection to photographs produced by the common method.
The discovery of Photo-Galvanography, and another important improvement in the art of Engraving which has been termed Paniconography, (what absurd titled inventors frequently give to their processes) have both been introduced during the past year; and from the influence which we may suppose them likely to exert on Art, they are certainly entitled to rank with the many other admirable discoveries of that year.
By means of Photo-Galvanography we can multgiply photographic copies of natural objects in printer’s ink;--by means of Paniconography we can multiply, in our illustrated journals, with the rapidity of ordinary surface printing, designs, not copied by the wood-engraver, but drawn on the plate by the original artist. These are great steps in graphic art. The reader will find two spirited specimens of Paniconography, (the invention of M. Gillot), in the Illustrated Times of Feby. 21st. With the specimens of Photo-Galvano-graphy we are now more immediately concerned.
Part 2 of “Photographic Art Treasures”, contains four subjects, viz.—Two landscapes, a portrait of Crimean braves, and a photographic composition entitled, “Don Quixote in his Study”.
A Photograph printed on India paper in printer’s ink is certainly very fine. How much artistic softness, and what a thoroughly fine art character it possesses as a print. How superior it is in effect to a common photograph printed on albumenized paper, which reminds one so provokingly, in spite of its fine qualities of sharpness and vigour, of the glazed pictures on French bon-bon boxes, or Birmingham ware.
How different too, in many curious particulars, is a photo-galovanograph from an ordinary engraving. We were scarcely aware, before we possessed the means of thus fairly comparing a photograph with an engraving, of the conventionalities of the latter, as well as of some of the defects of the former—such as the smallness of the visual angle under which photographic views are taken, and the abruptness with which the margin cuts off the picture, making it look what it really is,--a bit of a view, such as we see through the open end of the camera when the eye is placed at the round hole that should be occupied by the lens.
Such were our impressions on looking over these proofs. But we should be ill serving the cause of the Company, in whose success we take a strong interest, were we to pass over by a too generous criticism one obvious defect. There is a little too much retouching of the plates. But we rejoice to say that some magnificent proofs issued by the Company, (The Venus of Milo for instance), are pure Galvanographs; so that the powers of the process have been fully established. No doubt the cold and gloom of the winter season have been as unfavorable to galvanography as to photography, and when the fine weather returns, perfect plates will be obtained. The blame cannot fairly be attributed to the negative. Whatever improvements may be made in photography, we can scarcely hope to obtain finer negatives than have been already produced. We may improve our processes by rendering them simpler and more certain, or even instantaneous, but it is vain to hope for finer results than have been already produced by our first artists. The Company must strive to improve their own processes; and in doing so, let them rest assured that they have the hearty sympathy of all true lovers of art. For such exertions as they have already made, the highest praise must be awarded, and their publications deserve the liberal support of the public.
A few words now on the subjects of the proofs before us.
Lynmouth, Devon, by Mr. Lebbin Colls, is a photograph of rare beauty. The distant hills are seen through miles of atmosphere, and the scene is warm and glowing in the sunshine of a Southern County; nevertheless there is much fine half-tone in the picture and no staring contrasts of black and white. This proof is the gem of the Album. Hampton Court, by Mr. Roger Fenton. The view of the back of the Old Palace is taken from the opposite side of the river, and the reflexions of some magnificent elms in the water save the picture from the charge of being altogether common-place. As the work of an Amateur we might say “well done,” but we expect better things from our first Landscape Photographer. Views of Hampton Court may be valuable to certain persons, but we fear they are scarcely worthy of a place in an artist’s portfolio. Mountains and Mist, Skies and Distances for our great artists; Hampton Court for the less ambitious.
Crimean Braves, by Cundall and Howlett. This is a capital piece of Photographic Portraiture. The fine half-tones of the faces, and a graduated background make it very artistic. There is a sharpness of line where sharpness is wanted, and softening of outline where sharpness would have been a defect.
Don Quixote in his Study, by Mr. Lake Price. We dislike this picture extremely. How could Mr. Lake Price have chosen such a model,--an Alsatian Culpepper or a Mike Lambourne, rather than the hero of Cervantes, who with all his monomania was a gentleman every inch of him. The pose however, and costume are good, and well considered; but the accessories are too crowded, and the lights spotty, as in the works of many modern artists. The roll of matting forms in particular a very disagreeable stripe of light on a line with the head. Photographers will do well to take the works of Rembrandt as fine studies of chiaro’scuro from which they may learn much. Mr. Howlett’[s Crimean Braves contrasts very favorably with the Don Quixote in the management of the light and shade, the latter being too violent in the contrasts of black and white. Ed. Phot Notes.
1857: PN March 15, vol. II, #23, #23, p. 107:
[Advertisements]
R. Boning
Photographer and Stereoscopist,
4 Leicester Square, London.
Stereoscopic Views supplied to the trade, mounted or unmounted.
Now Publishing, a series of well-chosen Views in the County of Suffolk.
Also Hogarth’s Tomb, with the Inscription by D. Garrick.
Stereoscopes and Photographic Paper supplied.
Photographic Printing on the most reasonable terms.
Stereoscopic Negatives bought.
A Post-office order must accompany Country orders.
1857: PN May 15, vol. II, #27, p. 181:
Review.
Stereoscopic Views of Devonshire Scenery. By Mr. C. Fowler, Torquay.
Mr. C. Fowler has forwarded for our inspection a series of Stereoscopic Views of Devonshire Scenery. Many of them are very fine. Among the best we may mention the following:-- Berry Pomeroy Castle, with its remarkable ivy-covered towers; Nos. 1, 2, and 3, of the river Erme series, No. 2, being remarkable for atmospheric effect; Marble Rocks,. Petit Tor, Babbicombe in the distance, a singular example of stereoscopic relief,--the figures in the foreground will certainly slip off the slanting ledge of rock on which they are seated; No. 1, of Kingskerswell series,--a parish church, well sent [sic; “set”] back into the middle distance, behind an old wall in the foreground every stone of which seems ready to leap from its place. No. 3 of Tor Abbey series,--the piece of battlemented wall seen through the doorway on the other side of the gate, is very curious; the St. Jean D’Acre, bloating in the harbour in which she has just been launched, at a good cable’s length from the edge of the pier, is also highly stereoscopic, and a fine sharp photograph.
But perhaps the most remarkable subject of them all, is No. 3 of the Upton Vale series. Every photographer should possess a copy. The dark tent in the foreground, with the two figures by the side of it, stand out in a marvelous manner from the other objects, and the tent is just such a one as we are about to recommend in a future number, from its simplicity and portability.
Mr. Fowler’s printing is very rich and vigorous. There is no yellowness in the lights, and the shadows are a deep bistre, which gives promise of permanence. The prints have not been left to swelter for hours in a dirty old hypo-bath. The albumenized surface is however objectionable for such pretty little bits of natural scenery as these. Even through the stereoscope the glaze of the albumen is disagreeably perceptible. In the letter which accompanied these prints, Mr. Fowler says, “I take this opportunity of expressing to you the pleasure your printing process by development has lately afforded me.” We are in hopes therefore that we may be able soon to report him a convert to our own views on the subject of printing.
In carefully examining the above stereoscopics, as well as many others that we have seen, we remark a circumstance which has occurred in our own practice, viz., the duplicate negatives are seldom of equal density. But this is supposed to be an advantage rather than otherwise.
1857: PN July 15, vol. II, #31, p. 262:
Review.
Stereoscopic views of Scotch scenery, by G. W. Wilson, of Aberdeen.
Mr. Wilson has been long known as one of the first photographers in Scotland, and many of the exquisite stereoscopics before us are well worthy of his high reputation. The subjects have been chosen with great taste and judgment, and the time of day for taking the picture has been in general so well considered that the opposing masses of light and shade balance admirably. One of the most charming views of the series is we think “The Bed of the Feugh, Aberdeenshire.” The extreme distances in this subject are rendered capitally, and it fully proves the capabilities of collodion for giving gradations of distance.
The execution of these subjects is in general faultless. There are no snowy high lights or impenetrable masses of shadow. There is contrast without abruptness, and detail everywhere. We are informed that the negatives are developed with iron. Let photographers by all means employ iron for negatives if it will produce such admirable results as these.
In one or two of these views there is that curious halo round the dark parts to which we once alluded in a back number of the Notes. Round the hat of the fisherman in the “Bridge on the Feugh” it is very apparent, and also round the outline of the rocks in the “Murchall’s coast scene.” Can any of our readers suggest a reason for this sometimes annoying occurrence?
The more we see of Stereoscopic Photography the more inclined we are to recommend that every view be taken with reference to exhibition either in the refracting or reflecting stereoscope. The superiority of effect gained by the use of the stereoscope is very surprising.
1857: PN Dec. 15, vol. II, #41, p. 442-443:
Reviews.
Photographic Views in Heidelberg, Oberwesel, and the Black Forest, by Lyndon Smith, Esq.
We have received for review, from one of our subscribers and valued correspondents, Mr. Lyndon Smith, of Leeds, a series of fifteen photographic views in Heidleberg, Obersewel, and the Black Forest, taken during the summer of the present year, by the Wet Collodion Process. They are of an average size of 9 ½ inches by 7 ½ inches; and are handsomely bound in an appropriate wrapper, bearing a lithographic title. Our candid criticism of these views is requested by the artist, and we are desired to point out, with unsparing hand, any defects which we conceive them to possess.
These views are so good as photographs, and have been so carefully printed, that they may well challenge ordinary criticism. It is not until we refer them to a high standard of excellence which has seldom been reached by the photographer, that we are able to point out their short-comings.
Their chief character, as photographs, is their freedom from that most disagreeable fault of many photographs, viz., hardness, and want of half-tone. But in one instance, we observe a little falling into the opposite extreme, viz., the bird’s eye view of Heidelberg. This subject is, we think, a little flat and somber. There are six views of the Castle at Heidleberg, all admirable as photographs. They remind us of the view in Part I. in the “Sunbeam,” by Sir J. Coghill. Thanks to the truthfulness of photography we can now, although we have never been at Heidelberg, form an excellent idea of its far-famed castle, and our impression is, that it makes a very poor subject for the camera. The two views at Oberwesel, on the Rhine, are delightfully artistic. The street in Oberwesel we will say nothing about; even a Turnerian sky, with the sun’s orb as a central source of light immediately within the archway, would make noting of it as a picture. The view of “Forbach on the Mourg,” and the “Wayside Cross,” are certainly the gems of the Album; we have seen few better photographs. The remaining subjects are all artistic bits; and on the whole this album is entitled to rank with the finest collection of small pictures of the same class that we have seen.
The printing, although somewhat somber, and leaden in tone, is clean, and reminds one of the permanence which we believe is secured by the copious use of gold in the toning bath. There is however one print which is an exception to the rule, and in that the tint of the shadows is the rich sepia due to sulphuration. This print is certainly the best in colour. We have always admired the warm effect gained by the sulphuration of the shadows of a print, as compared with the cold effect of gold toning; although we dislike extremely the occasional green-yellowness of the lights. On the whole it is a pity that Sulphur-toned prints are so liable to face, for the process has its merits. Is there no substance which can be used after the hypo, so as to prevent the possibility of the further progress of sulphuration? We know at present of nothing better than immersing the print in spirits of turpentine, for this liquid is, to some extent, a solvent of Sulphur, and it may remove the traces of the sulphurating compound from the paper. Mr. Malone has suggested a solution of caustic potass [sic]; but he has no reason to assign for the way in which he supposes it likely to act, and we find that practically, it does not answer. We once toned a print in a hypo bath, rendered milky by the addition of an acid, and when it had reached a good dark tone, washed it thoroughly in water, and then placed it is a solution of caustic potass. In a couple of hours it had completely faded in the potass bath.
Mr. Smith intends to publish his album of views. We strongly advise our readers to add it to their collection of photographs. (Ed. P.N.)