1858 JOURNAL OF THE PHOTOGRAPHIC SOCIETY,
Containing the Transactions of the Society, and a General Record of
Photographic Art and Science; edited by William Crookes; London.
[a.k.a., “THE PHOTOGRAPHIC JOURNAL” ; “JPS”]
Vol. IV. July 21, 1857- March 22, 1858; vol. V ,1858- 1859
(only 1858 transcribed here)
Ver: April 17, 2008
START: p.
NOTES:
--Italics have been retained from publications, which use 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.
--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.
--All 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.
--“illus” means that I have the view mentioned and should be scanned and included.
--Articles by photographers about technical matters – only name and titles have been listed. 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.
1858: JPS Jan. 21, vol. IV; #62, p. 131- 132:
Editorial leaders: [extracts]
--[Upcoming exhibition of the Photographic Society]:
Most of our readers will have been already warned by advertisement of the approaching Exhibition which the Photographic Society intends opening early in February: we give below the printed regulations respecting the admission of pictures, which have been extensively circulated amongst photographers, and may be obtained on application at the Society’s rooms, 1, New Coventry Street.
--[Court case, Duboscq vs. Ferrier, Soulier, and Clouzard]:
A case has been recently brought before the French law courts which will perhaps interest our readers. M. Duboscq, by virtue of a patent which he took out in 1850, thought himself entitled to claim stereoscopic slides covered with a dead varnish, and even those upon transparent glass. A descent was therefore made upon the establishment of MM. Ferrier and Soulier and Clouzard by a bailiff and a commissaire of police, who seized all their glass slides until the result of M. Duboscq’s action should be determined. No one doubted that M. Duboscq would be defeated, inasmuch as the method of obtaining the transparent positive proofs was described by M. Nièpce de St. Victor some time in 1847. The decision has recently been decided against M. Duboscq in the case of M. Ferrier and the others. It was time the verdict was given, since for months past not a single glass stereoscopic slide has been allowed to be sold in France.
The trade in these slides has grown in France at an almost incredible rate. Several houses are entirely engaged in it, and export to England, America, and other countries thousands daily. Some idea may be formed of the capital invested when we say, that the value of the property seized at M. Ferrier’s establishment alone was valued at upwards of 50,000 francs.
--[Notice of exhibition of Architectural Photographic Assoc.]:
In our advertising columns [not located] will be found a notice of the Exhibition of the Architectural Photographic Associating, which is now on view at Suffolk street, Pall Mall. The honorary Secretary, Mr. Hesketh, wishes it to be made known that the Committee are open to contract for first-rate photographs of architectural works situated in any part of the world.
--[Regulation of Photographic Society of London’s Fifth Annual Exhibition]:
The Photographic Society of London will open their Fifth Annual Exhibition of Photographs early in February 1858, in the new Gallery at the South Kensington Museum.
The Exhibition will not be restricted to members of the Society, but open to all, subject to the following regulations, viz.:--
1. Negative and Positive photographs of every description, whether on paper, glass, or other material, including Daguerreotypes, will be admitted, and also Stereoscopic Pictures and Stereoscopes.
2. Coloured Photographs will be admitted only when accompanied by untouched copies of the same pictures.
3. Positive Pictures, printed from touched or painted negatives, and also touched or painted positive proofs must be described accordingly.
4. For the sake of economising space, the margins of all Mounted Photographs must be kept within moderate limits, viz., not exceeding 3 inches for the largest Pictures, or 2 inches in those under 8 inches by 6 inches.
5. Pictures sent for Exhibition must be numbered consecutively, and accompanied by a schedule in the subjoined form. Every Picture must be protected by glass, and bear on its front a duplicate of the entry on the schedule referring to such picture.
6. All Pictures with advertisements will be rigidly excluded.
7. Exhibitors desirous of selling their Pictures will be permitted to make arrangements for that purpose with the Attendant in charge of the Exhibition.
8. Facilities will also be given to the Makers of Photographic Apparatus, &c., for the Exhibition of such of their productions as may be considered of peculiar interest from excellence of construction or novelty of invention.
9. All works intended for Exhibition should be addressed to W. Crookes, Secretary of the Society, at the Museum, South Kensington, and delivered, with all expenses paid, on the 1st or 2nd of February.
Exhibitors and Members of the Society will have the privilege of free admission, and of introducing one friend without payment.
1858: JPS Jan. 21, vol. IV; #62, p. 142:
Architectural Photographic Association.
On the evening of the 7th of January the first Exhibition of the Photographs collected by the Association in 1857 was formally opened at a conversazione, at the Galleries in Suffolk-street, Pall Mall East, which was numerously attended by the leading Members of the Architectural Profession, as well as by the public. Professor Cockerell, R.A., the President of the Association, in a brief address from the Chair, explained the objects the Association had in view, and the manner in which the Committee had endeavoured to carry out the duties with which they were entrusted. he pointed out the great advantage which was to be derived to architecture by the aid of photography, for the illustration of which art, indeed, it seemed more adapted than for any other purpose. The peculiar feature in the scheme was the distribution amongst the Subscribers of copies of the photographs exhibited, to such extent as their subscription of £1 1s. and upwards would allow, and that at a great reduction from the price paid by the public at large. If the proposition which he was going to submit, as to an alteration in the Rules of the Association, were adopted, the Subscribers would have the advantage of selecting the subjects which best pleased them individually from more than 360 photographs exhibited on the screens and in portfolios. He thought the success which had been met with was remarkable, considering that they had been but about eight months in operation; the number of Subscribers who immediately perceived the advantages held out to them was between 700 and 800. The President alluded to the obvious benefit to photographers, on whose productions probably upwards of £1000 would be expended this year, and that amount would be largely increased in succeeding years.
He concluded with moving the adoption of the alteration of the Rule, so as to enable Subscribers to make a selection of their subjects, instead of having the same sent to each of them, as was originally intended. The alteration having been carried unanimously, and a vote of thanks passed to the President, the company proceeded to inspect the photographs, which excited great admiration.
1858: JPS Jan. 21, vol. IV; #62, p. 152:
Answers to Correspondents: [extract]
J. Cramb.—Your plan of revolving stereoscope was brought out some time ago by Mr. Francis of Great Russell Street, and exhibited by him at the Soirée which the Photographic Society gave at King’s College.
1858: JPS Feb. 22, vol. IV; #63, p. 153-154:
[Editorial leaders – extracts]
On Friday, the 12th inst. the Photographic Society’s Exhibition, at the South Kensington Museum, was honoured by a visit from her Majesty the Queen and His Royal Highness the Prince Consort, attended by a small suite. After a minute examination of the principal objects of interest in the collection, the Royal visitors expressed their gratification at the great advance which had been made since the last Exhibition, as shown not only in the greater boldness and originality of idea in the composition, but by the more perfect mastery which each well-known exhibitor had obtained over the mechanical and chemical difficulties, and by the improved colour of the collection seen en masse. The Exhibition was opened on Saturday for a private view to the Members of the Society for a private view to the Members of the Society and visitors invited by the Council, in which class ere included the leading representatives of science and art and the press in the metropolis, to the number of nearly eight hundred; and on Monday, the 15th inst., it was opened to the public. Its success as a collection of the finest specimens of the past year’s advance cannot be doubted, as it is by far the best Exhibition the Society has yet collected; and it will shortly be still more enriched by some of the choicest specimens of Continental Photography, which are now being collected, for transmission to London, by the further allude to the Exhibition, as probably, before its close, a detailed criticism of the principal works will appear in our columns.
[…portion omitted]
Our old friend the Liverpool and Manchester Photographic Journal has lost the able management of Mr. Malone; that gentleman’s increasing occupations and delicate health rendering him unwilling to further risk the latter by a continuance of the severe mental strain which an able and conscientious fulfilment of editorial duties necessitates. Mr. Shadbolt—than whom no one is better fitted for the post, either from hi varied scientific knowledge, or the ready and lively manner in which his contributions towards the common stock of Photographic knowledge, theoretical or practical, are given to the public—is the new ruling spirit of our valued contemporary.
[..end portion omitted]
1858: JPS Feb. 22, vol. IV; #63, p. 168:
The Solar Eclipse of March 15.
To the Editor of the Photographic Journal.
Whitehaven, Feb. 10th, 1858.
Sir,--Allow me to call the attention of photographers, through the medium of your widely circulated columns, to the annular eclipse of the sun which will take place on the 15th of March next. The occurrence of an annular or total eclipse is always an occasion of deep interest to astronomers on account of several remarkable phenomena which have been observed in connexion with it. Perhaps the most remarkable of these is that known as “Baily’s beads” (from having been first minutely described by the astronomer of that name), and which may be briefly described as follows:--A few seconds before the annulus is formed, the approaching horns of the crescent are suddenly connected together by a row of “beads” of light with intervening dark spaces, giving a serrated appearance to the edge of the moon’s disc. As the moon proceeds, the black spaces become elongated and narrow, as it were stretched out into threads, which threads
presently break and vanish instantaneously, and the annulus is complete. As the moon approaches the opposite limb of the sun, the same appearances are repeated in inverse order: a number of black threads dart out to meet it which grow thicker and shorter till the beads are reproduced as at first, and the annulus breaks up. This extraordinary phenomenon is supposed to be an optical illusion produced by the influence of irradiation; but it must be confessed that the explanation is not very satisfactory, and further observations are much needed in order to come to a decisive conclusion. It is a remarkable fact that the appearance is not always observed, and even in the same eclipse some observers see the phenomenon and others do not: something appears to depend upon the colour of the glasses used to protect the sight.
Now it is obvious that if a series of photographic representations of this phenomenon could be obtained, they would be of inestimable value in coming to a satisfactory conclusion as to the real cause of the appearance; and I wish to induce photographers (especially those who have the good fortune to reside in places where the eclipse will be annular or nearly so), to endeavour to obtain impression on their collodionized plates of the various phases of the eclipse. There are no such difficulties in the way as beset lunar photography, the only apparatus required being a view lens (the longer focus the better) and camera, with some arrangement for opening and closing the lens instantaneously. I have obtained an instantaneous negative of the sun’s disc with a lens of 14 inches focus and diaphragm of 1/20th inch aperture. The lens was opened and closed by means of a sliding shutter, with an opening of ½ an inch in diameter in its centre, which was made to fall by its own gravity before the front of the lens. The aperture of the diaphragm must of course be adjusted so that the instantaneous exposure may produce an image of the proper intensity. The image obtained is of course small (with the above-named lens about 1/8th of an inch in diameter), but it may either be enlarged or examined with the microscope. The collodion employed must of course be perfectly structureless, in fact just what is necessary for taking microscopic photographs.
The eclipse will be central over a line extending across England from near Bridport in Dorsetshire, to about the centre of the Wash. To all places on this line, and a short distance on each side of it, the eclipse will be annular, though the annulus will be very narrow and its duration only a few seconds (12 or 13 at the most). The principal towns near the line of the central eclipse are Sherborne, Devizes, Swindon, Oxford, Buckingham, and Peterborough. At London it will be partial only, but an extremely narrow crescent will remain visible, as ·976 of the sun’s disc will be obscure. I trust that many of your readers will be induced to experiment in solar photography, and that on the occasion of the eclipse their efforts will be productive of some interesting results. R.W. Forster
1858: JPS March 22, vol. V; #64, p. 169:
Editorial leader [extracts]
… The Council of the Dublin Photographic Society having, at its last meeting, resolved to have an Exhibition of Photographs in connexion with the approaching “Exhibition of Decorative Art,” which will take place at the Royal Dublin Society, we are requested to bring the matter before our readers, in the hope that some photographers may be induced to forward specimens, although the notice is very short. The 20th is the last day for the receipt of articles in general, but in the case of photographs exhibited by the Dublin Photographic Society, a few additional days will be allowed. All packages should be directed to John Brownrigg, Esq., at the Royal Dublin Society’s House, Dublin.
On Saturday the 13th instant, the Council of the Photographic Society gave a Soirée (the first of a series, we believe we are correct in stating) at the South Kensington Museum: the centre of attraction was the Society’s Exhibition of Photographs, which has been lately much enriched by a numerous and beautiful collection sent by the French Photographic Society. A great part of the Museum, and the large Board-room (which was turned into a refreshment-room), was also lighted up and thrown open for the occasion.
1858: JPS March 22, vol. V; #64, p. 179:
On Photography in Australia.
By Frank Haes, Esq.
(Abstract of a Paper read before the Blackheath Photographic Society, February 15th, 1858)
Gentlemen,--In accordance with my promise made at your last meeting, I have endeavoured to bring together whatever facts relating to Photography I have observed in Australia. From my own experience in the waxed-paper and collodion processes, I do not think that the actinic rays are as active in the Australian atmosphere as in this country, although pictures can be taken in the winter there much quicker than at a corresponding period of the year here, which I attribute to the freedom from fog which we enjoy, and to the greater heat of the winter season.
I have taken waxed-paper views 13 x 11 in May, corresponding to November here, with a 3 ¼ inch lens and 5/8 inch stop in twenty minutes, and in June the same sized views with a ½ inch stop in thirty minutes. I have never worked during the intense heats of the summer, but I cannot conceive that they would be favourable to the production of good pictures; the camera would be twisted by exposure to the direct rays of the sun, and it would require a real enthusiast to stand out in the open air any length of time at that season. About two years ago hardly any other branch of the art was pursued except positives on glass, for there were very few amateurs, and this process was the quickest for professionals; most of these pictures were very inferior and very carelessly done, but at the same time daguerreotypes of a very superior order were being taken in Sydney.
This process, however, was soon found to take too long a time in preparation, and has now been almost abandoned. At the present time every new process is tried as soon as we hear of it, except the albumen on glass, because the Colonies in general suffer much from dust-storms which find their way into every nook and cranny; several amateurs are also devoting time to the investigation of photographic agents. In Sydney there are about thirty amateurs and twenty-five professional photographers, besides many who are always travelling in the interior from town to town.
It has been found by repeated trials that Tomas’s collodion does not work so quickly in Australia; several professional gentlemen have mentioned to me that they thought it deteriorated during the voyage; at all events, almost every one following this art professionally makes his own collodion. Mr. Freeman of Freeman Brothers, has often proved to me that he was working faster with his own collodion than with that of Thomas’s; I do not think that a 4 ½ x 6 positive portrait is ever taken at the most favourable period of the year, in a glass room, under 5 seconds. Few have practised the waxed-paper process, being afraid that it was very difficult. I had the pleasure of reading a paper before the Philosophical Society of New South Wales in which I endeavoured to prove that it was fully as easy as the collodion; since then several have turned their attention to it. I have kept the paper sensitive about five days in the winter.
The only practical application which I am aware to have been made of photography, has been to copy the heraldic shields on the walls of the new University; these pictures have been sent to this country, and are used to assist in the drawing of the painted glass-windows now being made for that Institution. I do not think that photography has reached the same degree of excellence in Melbourne as it has in Sydney; for former being a busier place, does not number so many amateurs. The only novel contrivance invented in the colony worth recording, is a very good apparatus for taking stereoscopic pictures, invented by the Rev. Mr. Kemp of Sydney. he has kindly shown it to me, and I do not think I have seen anything better adapted for this purpose. I have soon exhausted all the information I can give relative to antipodean photography, but trust that each succeeding year will improve us, and that when I revisit this country I may be able to offer you a paper on this subject more worthy of your notice.
1858: JPS March 22, vol. V; #64, p. 187-188:
Miscellaneous:
The recent Eclipse of the Sun.
To the Editor of the Photographic Journal.
Dover, 113 Snargate Street,
March 15, 1858
Sir,--In consequence of the letter addressed to photographers by Mr. Forster, published last month, and assuming that gentleman to represent astronomy, I hasten to inform you that I have a complete series of photographic delineations of the beginning, middle and end of the lunar eclipse of last month, and also of the annular eclipse of today up to greatest obscuration, the whole of the plates being perfect in definition and intensity under deep magnifying power.
If that gentleman chooses to furnish his address, either direct or through your Journal, I shall be happy to present him a proof as soon as complete.
Before the publication of the Number for April, I shall endeavour to furnish a detailed account, if or sufficient importance, of the result of my operations, and in the meantime will simply state that I am making an atlas of the moon’s surface, which will cover a very large area, the whole of which is perfect in definition and intensity, These plates, as have all others I have made during the last four years and a half, prove the greater truthfulness of photography over telescopy, except when the latter is unusually and favourably circumstanced. It may also not be out of place to inform our microscopic friends, that the collodion employed is instantaneous to the moon’s light, and structureless under a high magnifying power.
There is one other fact of importance in the phenomenon of today, viz. that during the first part of the sun’s eclipse the moon was edged by a delicate narrow band of prismatic coloured light, commencing on the left (as seen from the earth) with blue, and terminating on the right with the most perfect carmine tint. My plates exhibit this in great perfection; the appearance upon the camera-screen under the microscope, which I always[s] employ in focusing for astronomical operations, was truly magnificent. Upon a plate made 45 minutes after the eclipse, the sun’s disc is represented as being encircled, upon its surface, by a broad non-luminous band, not exactly in its centre, and imparting to its circumference at each extremity of the band, a concave outline, such as a soft body would present having a leather strap drawn tightly round it.
During the taking of the first two plates the sun emitted rays of a pale silvery luster, very bright, and having definite dark terminations, which have also been impressed with great fidelity; this is probably the “corona” described by former observers. Josiah Fedarb
1858: JPS April 21, vol. IV; #65, p. 205:
Miscellaneous: [selection]
The Solar Eclipse. The possible connexion of Oxone with actinism.
To the Editor of the Photographic Journal.
Guernsey, March 27th, 1858.
Sir,--After two dismal days of wind and rain, the sun on the 15th rose bright, giving promise of a clear day; by 9 o’clock, however, the sun as covered by a veil of thin fleecy cloud, through which it shone just sufficiently to case a weak shadow.
At 11h I began to work, intending, with the assistance of a friend, to take an image on collodion every five minutes. The first indication of contact I obtained at 11h 38´ Greenwich mean time; the next was taken at 11h 44´, and gave a beautiful small cusp. I never felt more photographic pleasure, alas! but momentary, for suddenly there streamed up from the north-west a driving mist, “and it grew wondrous cold” to the feelings, for the thermometer only fell from 52º to 48º. By noon the sun was totally obscured, and at 12 h 50´ it drizzled fast. I managed to get two other images, at 11h 49´ and at 12 h 5´, by watching the moment the “dismal sheen” of the sun penetrated some thinner portion of the mist. After the eclipse the mist blew off, and we had an afternoon of good diffused light.
I used a lens of 3 feet focal length, giving an image of the sun about 5/16ths inch diameter. The diaphragm was 1/16th, and the light of the sun was admitted through an aperture 1 inch diameter, in a board fitted to the brass-work of the lens, on which another board, with an aperture also 1 inch diameter, rapidly slid, so that the exposure of the plate was only the fraction of a second. When the mist came over, I used a ¼ inch stop, and for the 12 h 5´ image a ½ inch was necessary. I send you the five phases of the sun, which, though, owing to the mist, they want the clean cut of fine of bright sunshine, are, I think, conclusive that under favourable auspices photography can render essential service to astronomy; that even with images 5/16th diameter, the appearances are clearly seen; and that, as the exposure is only the fraction of a second, the most transient changes can be seized, sharply cut, and free from errors of motion.
During the last year my attention has repeatedly been drawn to the coincidence between the presence of ozone and actinic action. This was remarkably the case during the eclipse. A very able artist, M. Garnier, was engaged all day in taking portraits of children on collodion, and was astonished that during the period of greatest obscuration, when the light was so dull that he could scarcely see the image on the plate in his dark room, the usual exposure in the camera, fifteen seconds, was quite sufficient, giving excellent results, which he showed me the following morning, expressing his surprise.
Mr. friend Dr. Hoskins, on the same day, communicated to me, as a simple meteorological fact, that he had noted during the day of the eclipse, a much larger amount of ozone than he had ever hitherto observed during the same period, and he has favoured me with the following abstract, which will prove interesting:--
“The mean daily amount of ozone in Guernsey, for the year 1857, was 2º 4´ ; but about the period of the present eclipse it was as follows:--
Ozone.
March 15th, at 9 a.m., amount of preceding
twenty-four hours… 10 º
“ from 9 a.m. to 3 p.m……… 8 º
“ from 3 p.m. to 9 p.m……… 7 º
“ 16th, at 9 a.m. ………….. 10 º
In forty-eight hours 35 º!”
I mention these facts without comment, not yet having collected enough to enable me to offer an opinion whether the coincidences have a necessary connexion, or are merely accidental.
T.L. Mansell.
1858: JPS April 21, vol. IV; #65, p. 205-206:
Miscellaneous: [selection]
The late Eclipse of the Sun.
To the Editor of the Photographic Journal.
Chemical Department, Royal Arsenal,
Woolwich, April 5, 1858.
Sir,--I have much pleasure in forwarding the following particulars relative to the photographs of the late solar eclipse, of which I enclose copies. They were produced in the telescope of the Observatory in connexion with the Royal Artillery Institution, Woolwich, which was, through the kindness of Captain Noble, placed at my disposal on the 15th of March. The pictures represent the full disc of the sun with its dark spots, and the same at four stages of the eclipse near the period of maximum obscuration, their times being respectively—
1 h 5´ , 1 h 5´ 30” ,
1 h 9´ , 1 h 9´ 30” .
In addition to these, the unfavourable state of the weather allowed only of my taking, nearly on the meridian, one other representation, which however was imperfect, from the circumstance of the sun having commenced to travel out of the field of the telescope.
For the present purpose, the telescope, with object-glass of 4 ¼ inches available aperture, and 6 ft. 5 in. sidereal focus, was deprived of its eye-piece and connected with a small camera carrying a ground-glass and stereoscopic slide, so that on the same prepared plate two pictures might be successively taken with but little delay. A sliding diaphragm was adapted to the extreme end of the telescope, to give the means of rapidly opening and closing the lens; and an arrangement was provided, though not in this instance employed, for retarding the passage of heat-rays, by a screen of deep blue glass.
The ordinary collodion process was employed, and the duration of exposure, less than one second, was too small to necessitate the adaptation of any compensating machinery; nor was any appreciable amount of adjustment required for the chemical rays, as they sufficiently coincided with the position of optical focus. John Spiller
1858: JPS Sept. 21, vol. V; #70, p. 30
Reviews: Photo-Stereographs of the Monster Shell.
Mr. Skaife, of Vanburgh House, Blackheath, has sent us specimens of his success in taking a photo-stereograph of the monster shells fired in Plumstead Marshes on the 28th of July last, and so well described by him in ‘The Times’ of August 5th. [GET] These are productions not only interesting to photographers, but, in the words of Mr. Skaife, they “offer matter for the serious consideration of a profound student in Nature’s laws.”
1858: JPS Sept. 21, vol. V; #70, p. 30
Reviews: The Story of Little Red Riding Hood. A series of Photography by H. P. Robinson, of Leamington.
Mr. Robinson is well known as an artistic photographer, and these four pictures bear witness to both his artistic and photographic skill. They possess that general uniformity of colour, with nice distribution of light and shade in the production of the half-tints, which photographers much appreciate; whilst every artistic mind must admire the careful grouping of the figures, the skill with which accessories are arranged, and the evidences of study and thought displayed in the management of all these details, so essential to the production of a real picture.
The photographs are four in number. There is the little happy face eager for the journey to that unhappy grandmother:--the lithe attentive figure, “in scarlet mantle wrapped,” listening at the cottage door for permission to enter:--the child puzzled by the odd looks of that wolf ensconced in bed, vice grandmother, eaten:--and lastly, a charming picture of the little one rendering thanks at her mother’s knee for her escape.
Mr. Robinson has been particularly happy in his model—an admirable embodiment in both feature, form and expression of the innocent little maiden who lived in that great epoch—the “Once upon a time”: when all these marvelous events occurred that we once so devoutly credited. Some others of these will, we trust, receive photographic illustration by the same skilful hand that has thus so beautifully rendered the story of that Una of our nursery days—Little Red Riding Hood.
1858: JPS Sept. 21, vol. V; #70, p. 30
Reviews: The mind Unveiled: a brief History of Twenty-two Imbecile Children. Philadelphia, 1858.
We regret that our literary specialty forbids any lengthened reference to the deeply interesting records contained in this little work which comes to us from across the Atlantic, and tells the story of what has been done in an Institution established near Philadelphia for the reception and education of idiot children. The individual cases are graphically narrated, the gradual improvement under watchful care and judicious training well described, and the appearances of the children illustrated by photographic portraits. It is true that these are scarcely worthy of the literary contents, being deficient in intensity, and wanting in that true arrangement of the subjects as regards light and shade (both physical and mental) so essential where expression is the object of the photographer. But this application of the heliographic art is of such vast importance, and will, in time, become of such great practical value, that we record with pleasure the appearance of this little book as a forerunner of other and more elaborate works in which the art of photography will be employed to illustrate this painfully interesting subject.
It is gratifying to learn from the cases recorded, how great are the advantages which result from the education of idiot children; and that we may hopefully doubt the harsh legal definition of an idiot given by Blackstone as being “one that hath had no understanding from his nativity, and therefore is by law presumed never likely to attain any.” For here we read of poor children, who instead of being “little lower than the angels,” are little better than the brute, yet who, by careful training, acquire an acuteness and power of rational judgment which stamp their intellectual fellowship with men. There are cases, moreover, recorded in this little work, which point a moral for the wise of the earth. One idiot child is the offspring of an opium-eater, another of drunken parents, and so on. And thus it behoves every one to take heed to his ways, lest vitiated himself, and “mox daturus progenium vitiosiorem,” he learn too late how retributive is that justice which “visits the sins of the fathers upon the children.”
1858: JPS Sept. 21, vol. V; #70, p. 33
Holy-well Revived [“suggestive” stereos; Mrs. Caudle’s Curtain Lectures]
When Lord Campbell’s Act for the more efficient detection and punishment of the sale of indecent books and pictures was under discussion, it was objected by Lord Lyndhurst that private libraries and picture-galleries might fall under its operation. His objections were disregarded, and the bill passed. It is not worth while to discuss how far, either legally or practically, the veteran Chancellor’s objection was valid, but it is impossible to walk along the streets of London without being made aware of another objection to the measure, which affords a very curious commentary on its principle. How far the filthy commerce which Lord Campbell proposed to check has been subverted we have no means of knowing; but we do know that exhibitions which do not exactly fall within the scope of his bill, but which are perhaps better calculated to effect the infamous objects which it attempted to discourage, than indecencies of a coarser description, are extremely common, and unless we are much mistaken, have recently increased to an enormous degree. There is hardly a street in London which does not contain shops in which photographs, and especially stereoscopic photographs, are exposed for sale, which are certainly not positively indecent, but which, it is equally clear, are expressly intended for the gratification of that pruriency which Parliament tried to deprive of its coarser stimulants. We cannot, of course, enter into particulars upon such a subject; but if any one of our readers will walk down the Strand, he will see numerous shop-windows—in other particulars of the most respectable character—which are studded with stereoscopic slides, representing women more or less naked, and generally leering at the spectator with a conscious or elaborately unconscious impudence, the ugliness of which is its only redeeming feature. There is a brutal vulgarity and coarseness about some of these pictures which is as surprising as it is disgusting. We have seen publicly exposed, in a shop of decent appearance, a slide representing a woman in bed, with a man in his night-cap and night-shirt seated in a chair nursing a baby, and underneath was written, “My last edition.” Mrs. Caudel’s ‘Curtain Lectures,’ and the various endearments to which Mr. Caudle resorts in order to avoid them, with other conjugal scenes of the same kind, are apparently extremely popular.
To call such things indecent is perhaps in some cases unjust; but even when they are not open to that imputation, they show a stupid, coarse brutality of taste and sentiment, which is a natural introduction to indecency of every kind. The more we think of the way in which such things are made, and on the use for which they are designed, the more apparent does their offensiveness become. An ordinary indecent print proves only the nastiness of the artist and the vendor, but an indecent photograph implies the degradation of the person who serves as model on the occasion. We are far from joining in the outcry made against the model-room of the Royal academy. In art, as in medicine or in law, it often happens that the end absolutely necessitates means which, but for that end, would not be admissible. Decency is a matter rather of sentiment than of fixed rule, and there would be far more indecency in sitting a single time for any one of many dozens of the photographs in the Strand than in adopting the profession of an artist’s model. It must also be remembered that a picture is always to some extent idealized. A grace, a Nymph, or a Venus, is an unreal, conventional being, whom we associate only with picture galleries; but it is the very merit and object of these photographs to reproduce the real actual woman in the very attitude in which she agreed to pander to the vulgar tastes of mankind.—Saturday Review.
1858: JPS Oct. 21, vol. V; #71, p. 36
[“Skeleton’s Carouse”]
A stereoscopic slide is in the shop-windows which seems to us singularly offensive; it is called the “Skeleton’s Carouse:” five or six human skeletons sit at a table, hob and nob, smoke, splutter and frolic, which a ghastly humour that makes the blood curdle. On the day when we first made acquaintance with this abomination, we also read in the newspapers the following report of a police case:--
“At Stratford, James List, aged 35, and William Saville, aged 32, who were described as labourers, were brought before a full bench of magistrates, upon remand for the fourth time, at the Court-house, Ilford Gaol, Essex, on a charge of being implicated in breaking into a vault under the church of St. John, Stratford, and stealing a copper coffin, valued at 10£. The prisoner List being sworn, and cautioned by the chairman in the usual form, made the following extraordinary confession:--“I was employed by Saville, was engaged by him at the church in July 1855. On one Saturday morning I was digging a grave in the churchyard, when Saville said, ‘Jemmy, what do you say to have old Dr. Taylor’s coffin taken out?’ I said, ‘Oh, no.’ He replied, ‘Never mind, let us have it out.’ We then went to the Coach and Horse public-house, and when we returned he brought with him a chisel, hammer, and other articles. Saville and I then went down into a vault under the church. We broke open the brickwork of the vault in which Dr. Taylor was buried. The coffin-lid was taken off, and the coffin was tilted over and taken into the adjoining vault. We removed the copper coffin, which was broken up into pieces. The metal was left in the vault. About a week afterwards Saville said, ‘Jemmy, come and let us have the other out.’ He meant the brother of Dr. Taylor. We then broke up the leaden coffin, and left it until the Monday, when Saville fetched a man with a barrow and some bags to the church, and the metal was taken to a house near the Green Man, in East Street, where it was sold to a ragman. I do not know his name, but I should know the man if I were to see him. I bricked up the vault afterwards, and Saville was drunk under the church. (Saville, at this part of the proceedings, laughs.) I received 10s. 6 p. from Saville for my trouble. Saville made the arrangements respecting the sale of the metal, and I do not know what he received.” List was subjected to a long cross-examination, but his testimony was not in any way shaken. The prisoners were again remanded for a week.”
We are not acquainted with the name of the artist or publisher of the “Skeleton’s Carouse,” and if we were, we should certainly not name either; but should he be a reader of the Times as well as of the Photographic Journal, he will, perhaps, on following the train of thought suggested by the doings of Saville and List, see why the public after all may possibly not like the humour of his human skeletons.
1858: JPS Nov. 6, vol. V; #72, p. 51
[Ed. comments: Elliot’s Sacking of the Jews House]
… From the Photographic Institution, 118 New Bond Street, we have received a series of instantaneous photographic pictures, executed by Mr. George Downes, for the stereoscope, surpassing all we have hitherto seen as instantaneous representations of the Coast, with Waves of the Sea, Shipping, &c.; and from Mr. J. Elliot five pictures of “The Sacking of the Jew’s House,” which for their delicacy of treatment and photographic excellence, are deserving of every commendation. It gives us great pleasure thus prominently to recommend these works to our readers; for they are quite a bright spot to look on after the gross and vulgar representations of domestic life now “so lucratively” (to make use of the words of the perpetrators of one of these absurdities) selling in the shops of those whom we had hoped would have spurned such gain…
1858: JPS Dec. 21, vol. V; #75, p. 104
[Ed. Comments Morrison photo of Imperial Commissioners in China]
Messrs. Murray and Heath have kindly forwarded to us a most interesting specimen illustrating the pleasing and useful powers of our art in recording events. It is a well-executed photograph by Robert Morrison, Esq., attaché to H.B.M. mission in China, and represents the imperial commissioners Keveiliang and Hevashana dressed in their mandarins’ costume, and sitting at a table, evidently not unmindful that their representation was about to be perpetrated. The picture was taken July 1st, in the present year. A visit to Messrs. Murray and Heath would be well repaid by an inspection of this picture by any of our members who have an opportunity of so doing.
1858: JPS Dec. 21, vol. V; #75, p. 117-119
Review. “Three Visits to Madagascar, during the years 1853, 1854, 1856, including a Journey to the Capital; with Notices of the Natural History of the Country, and of the present Civilization of the People. By the Rev. William Ellis. Illustrated by woodcuts from photographs. London, Murray, 1858.
We believe, with the exception of the account of the ascent of Teneriffe by Professor Smyth, that this is the first book of travels illustrated for the most part from photographs; and wonderfully does it speak for the beauty and value of our art, and indicates the aid which photography may hereafter render to this species of literature.
We feel that the book is of such intense interest, that it will be read far and wide. We are sure, however, our readers will be pleased to have recorded in their own Journal some of the photographic notices with which the work abounds, and also to know that the author is one of the earliest members of the Society. As contributions to our botanical knowledge, Mr. Ellis gives us views of an African palm tree,--a forest tree covered with orchids, and so wonderfully that, were it from a drawing, the artist would be suspected of having added to its embellishments; but having had the pleasure of seeing the original photograph, we can bear testimony, not only to the accuracy with which this has been represented by the engraver, but to the fidelity which characterizes the whole work; and we may here observe, that the numerous portraits, though not equal in giving the delicate shading which the original photographs possess, yet show distinctly the characteristic features of two of the races, especially of the Hova, or dominant race.
The picture of the “Traveller’s Tree” affords an example of one of the wonderful means of obtaining water in a tropical climate:--
“This tree has been most celebrated for containing, even during the most arid season, a large quantity of pure fresh water, supplying to travelers the place of wells in the desert. Whenever I inquired of the natives, they always affirmed that such was the fact; and that so abundant and pure was the water, that when the men were at work near the trees, they did not take the trouble to go to the stream for water, but drew off and rank the water from the tree. Having formerly been somewhat skeptical on this point, I determined to examine some of the trees; and during my journey this morning stopped near a clump of them. One of my bearers struck a spear four or five inches deep into the thick firm end of the stalk of the leaf, about six inches above its junction with the trunk; and on drawing it back, a stream of pure clear water gushed out, about a quart of which we caught in a pitcher, and all drank of it on the spot.
This scene from the truthful photograph is given us. Our author was thus blessed with a plentiful supply of that need to all photographers—plenty of good water. It may be observed that the processes used were the wax-paper for landscapes and wet collodion for portraits; but what photographer does not meet with difficulties? And in his own words Mr. Ellis shall tell us of not a trivial one:--
“I then resumed my preparations for taking the likeness of the prince, who had sent to inform me that he should come in the morning. I had finished all except adding the acetic acid to the developing solution, and the rectifying of the bath; but no acetic acid could I find. The case of chemicals put up by Messrs. Hopkins and Williams were examined again; and all the bottles taken out. Many that I seemed likely to want, and some things that I seemed never likely to want, were there, but neither acetic acid nor any other fluid acid. Every other box or case in which it was even likely to be was examined, but with no better success; and about midnight I gave up the search, and wrote a note, to be taken by a friend to the prince at daybreak, to say I could not possibly take his portrait in the morning. I then examined all my invoices, and to my dismay found no acetic acid there. My friend Mr. Fenton had assisted me to make out the list, and I had the most distinct remembrance of speaking about it at the time; but how it came to be omitted is still a mystery. My perplexity was great; and I am sure all photographers who have been in similar circumstances of destitution in a country where there were no chemists’ shops, and no fellow photographers of whom to borrow, will be able fully to sympathize with me.”
Our author had scarcely finished his breakfast when the queen’s secretary again came to know when the prince’s likeness would be taken; but as the “strong water” could not be found, the operation was delayed and disappointment ensued. After trying to succeed with tartaric acid, the juice from Malagasy limes, and other contrivances, complete success was accomplished by the prince having learnt that it was for the want of an acid and thereupon contributing a bottle of vinegar.
“The next day I employed myself, when not occupied with visitors and applicants for medicines, in experiments; and in the afternoon, after adding full one-third part of vinegar to the ordinary pyrogallic mixture, I succeeded in getting a tolerably good negative of the young chief who had accompanied me from Tamatave. I also received a note, saying the prince and princess would visit me on Monday.”
Our readers will be well repaid by reading the work, which we regret that our limits will not allow us to transcribe. In truth, the whole volume abounds with facts interesting to the photographic reader, written, as it is, by one who has studied nature in all her forms, and practiced medicine with success and ability not often to be met with. We cannot retrain from giving, however, an affecting illustration of the social affections among the Malagasy people, in connexion with the portrait of a chief who had died since Mr. Ellis last visited the spot:--
“During my former visit to Tamatave I had had much intimate, pleasant, and affectionate intercourse with an intelligent chief, a native of the capital, but at that time a sort of agent of the prince. Few were the days in which he did not visit me; and it was not until I was in the canoe which was to take me to the ship, that we parted. He had been shortly afterwards attacked with fever, and died a few days after reaching his home. He was a fine, noble-looking man, in the prime of life, about thirty years of age. He stood 6 feet 2 inches high, and told me his father was 2 inches taller than himself. On the same day, soon after the officers from the palace had left me, I was informed that the family of this chief wished to visit me. I bade them welcome; and the father of him whom I used to call my tall friend, himself an erect, noble-looking man between fifty and sixty years of age—his mother a matronly woman—the widow of my friend, a healthy interesting-looking woman about five-and-twenty, and five children, all entered my apartments.
“The father seated himself in a chair, the mother and widowed daughter-in-law sat on the ground; the widow carried a little boy in her arms, and the others placed themselves on the ground around her.
“The interpreter, who did not know my former acquaintance with the chief, said, ‘Who are you?’ The venerable-looking man said, ‘I am Ra’s father.’ He then looked at his wife, and she said, ‘I am his mother;’ and pointing to the young woman by her side, said, ‘This is his widow, and these are his children.’ The father then said, ‘ We have come with a small present in token of our love, for our son loved you, and spoke much of you; we shall never see him again, but seeing you seems to bring him back to our thoughts.’ His servants then brought in the present, consisting of poultry, eggs, and rice. I thanked him, and told him that it was a great satisfaction for me to see them; and that I had mourned when I heard of their son’s death, but hoped they were comforted.
“I have taken several photographic portraits of this chief while in Tamatave, and after conversing a short time I took out of my portfolio a small likeness of my friend and handed it to the father. He looked at it and wept. The mother took it, pressed it to her lips and kissed it, for some minutes weeping silently, but profusely. A full-length portrait I handed to the widow. She also kissed it and wept, then laid it down, and bent over her baby and wept. I could not restrain my feelings; at length the father and mother both said, ‘We are glad to see you, though we weep; we shall never see him again, but we see you. You were his friend, he loved you.’ I said, ‘Not more than I loved him:’—again they wept.”
They paid Mr. Ellis subsequent visits, and received the portrait in a frame—a prize to them beyond value.
We hope Mr. Ellis will, at the approaching Exhibition, allow his admirers to see some of the portraits of the races which he described, and which, to the ethnological student, will afford much ground for study and reflection.
Of the purely literary merits of this charming book we do not pretend to speak. Their merits are acknowledged by organs of public thought, whose praise Mr. Ellis will more gladly accept than our own. Our business lies with the photographic labours and triumphs of a fellow-worker in the art. On these we have pronounced our view.