1861 BRITISH JOURNAL OF PHOTOGRAPHY, vol. VIII

                       

VERSION:  1/18/07 

START:  p.

NOTES: 

   --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.

   --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 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.

  --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.

   --  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.

--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 19^th-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.

 

1861:   BJP Jan. 1, 1861, vol. VIII, # 133, p. ii:

            Ads:

            Furness Abbey.  A series of Twelve Photographs (7 x 6) on mounts (15 by 11), showing the most interesting portions of this noble ruin.  Price set complete, 21s; single prints 2s. each.

            To be had of Henry Sampson, Chemist and Photographer, Southport.

            Agent for Manchester:  J.J. Pyne, 63, Picadilly.

 

1861:   BJP Jan. 1, 1861, vol. VIII, # 133, p.11-12:

            Stereographs.  Stonehenge, Cathedral Interiors, &c., by Geo. Wilson, Aberdeen.

            The association of ideas implied in the proceeding “heading” is not as incongruous as might at first be supposed, for we believe that it is a matter beyond dispute that Stonehenge was formerly used as a temple, in which Divine worship (or what was supposed to be such) was performed.  As another connecting link between the two classes of subjects, we cannot forget that Stonehenge and Salisbury Cathedral are almost inevitably associated together by sightseers visiting the country of Wilts, and from one cathedral to another is a natural transition.  In our last notice [Oct. 15, 1860 #128, p. 303-304] of Mr. Wilson’s beautiful productions we treated especially of his “instantaneous” pictures, and should therein have included one of his Stonehenge subjects but that we considered it would range more correctly with the others of the same series.—That to which we particularly allude is entitled Stonehenge:  General View from the East (No. 207).  The spectator is supposed to be standing on a portion of Salisbury Plain, where there is a slight depression below the general level of the ground, so that the effect is similar to that of a building placed on an eminence.  An entire circle of the huge stones is included in the view, and the fine rolling masses of sunlighted clouds form a splendid background to so grand a subject; the proportions of which are cleverly indicated by the figure of a gentleman, in the central part of the view, leaning against one of the upright stones, and a carriage drawn up close to the circle on the right side of the spectator.  A flock of some twenty-five to thirty sheep are scattered in the foreground, feeding upon the herbage of the plain, which is rendered without the defect of undue darkness so commonly prevalent where grass forms a portion of the subject of a photographs; and numerous buttercups in flower are plainly discernible.—Nos. 209A and 209 are respectively a Near and a Nearer View of some of the more remarkable of these singular stones as seen From the West.  In the latter the spectator peers, as it were, into the very texture of the stone, and perceives it to be covered on the surface with numerous nooks and crannies, wherein mosses and lichens in great abundance have found a fitting habitation, while at the bases of the massive blocks crowds of nettles and other plebeians of the vegetable kingdom find a welcome shelter.—No. 211, Near View from the South-East, presents similar characteristics to the preceding; but here the almost boundless extent of the plain is seen stretching far away in the distance, bounded only by a faint horizon.

            From all the drawings that we have seen (numerous as they have been) of this singular monument of antiquity but a very imperfect idea could be formed of the real appearance presented by it; but this is not the case, we need scarcely remark, with the stereographs before us.  Far from lacking interest, they are overflowing with that valuable qualification.

            From Salisbury Plain to Salisbury Cathedral we pass as a matter of course; and of this edifice we have six illustrations, all of first-rate character.  The long-drawn aisles, the nave, the choir—all are beautiful and suggestive; but of these we give the preference to  the South Aisle (No. 214), in which the long perspective of column after column and pointed arched roof is indeed very fine, culminating, as it were, in a fine monument and stained-glass window.

            The Cloisters (No. 217) form a subject of a similar character to that last noticed; but here the architectural beauties are not so elaborate, nor the distance included nearly so great.  The roof is lower and the span more obtuse; but there is an exquisite artistic effect introduced in the soft reflected light from the pavement upon what would but for its presence have been deep shadow at the apex of the arched ceiling.

            In No. 215, The Transept, the play of chequered light on the columns on the left contrasts admirably with the cool repose of the chapel-like monument in the foreground.

            Perhaps the most beautiful of the series, however, is No. 216 The Entrance to the Chapter House, in which so many excellencies are combined that we find it extremely difficult to give any adequate idea of it.  The effects of colour are so admirably rendered that, when viewing this slide, it is almost impossible to disabuse the mind of the notion that it is not indebted to the painter’s art.  From the interior of the building the spectator looks through a twin-arched doorway into a vestibule closed by an ornamental glass screen, of which the rectangular door stands open.  Through this glass screen a portion of an external collonade is perceptible on the nearest side of the quadrangle, and a further portion of it on the opposite side; while just in the centre stands a splendid cedar tree, the stem of which comes opposite to the open door.  The floor of the edifice consists of a pavement of vitrified ornamental tiles, which obscurely reflect the surrounding objects.  The beauty of the structure is evidently enhanced to no inconsiderable extent by the judicious combination of various colours, which serve to heighten the effect of the carving and moulding; and it appears perfectly marvellous how the idea of this can have been so distinctly conveyed in the simple monotone of the photograph.  Such, however, is the fact, and we cannot too strongly advise all lovers of the curious as well as of the beautiful to make a point of adding a copy of this slide to their collection.

            Of our Metropolitan Cathedrals we have an interior of St. Paul’s (No. 203); but in this the solarisation arising from the glare of light from the windows facing the spectator has been fatal to the perfection of the illustration; and the same remark will apply to No. 193, The Choir of Westminster Abbey.  To some extent, also, a similar blemish may be noticed in No. 198, The Cloister of Westminster Abbey.  It must not, however, be supposed that those are not good specimens.  They are simply not equal to the very high standard usually attained by the operator who produced them.

            There are four other illustrations of Westminster Abbey that are entirely free from the drawback noticed in the preceding, although in three of them a window is situated similarly with regard to the spectator.  It is therefore probable that the artist was compelled to operate when the sun was in the most unfavourable position, photographers being often obliged to work when they can instead of when they will.—In No. 192, The Nave, two of the sculptured monuments on either side of the choir entrance form prominent features of interest.  It is, however, to be regretted that the enormous pile of chairs and benches used during Divine service on Sunday evening could not have been removed before taking the picture; but of course this was out of the question.—No. 194, The South Aisle, and No. 195, Poets; Corner, will no doubt find many admirers; but No. 199, The Interior of Henry the Seventh’s Chapel, will in all probability be the favourite.

            We cannot conclude without congratulating all interested in ecclesiastical architecture upon the facility they now enjoy of an opportunity of securing such truthful illustrations, at a trifling outlay, of structures which are regarded by the profession as invaluable for study to aid in the formation of a pure and elegant taste in architecture.

 

1861:  BJP Jan. 1, 1861, vol. VIII, #133, p. 12 - 13

            Notes of a Photographic Yacht Voyage in the Mediterranean. by W.J.C. Moens [part 3]

            We arrived at Cagliari on the 13^th December, and spent the rest of  the year snugly in port, thereby escaping some very bad weather at sea.  The consul there, Mr. Craig, is a great lover of the art, but hitherto he has only taken waxed paper negatives.  He was very desirous of working with collodion, but the difficulty of obtaining the materials had deterred him; for there are no depots of any consequence in the Mediterranean, nearly everything having to be procured from Paris.

            The dress of the natives here is very quaint.  The covering to their heads consists of a kind of black nightcap, the square end of which hangs over the forehead:  long black flowing hair, which is never cut, a red cotton handkerchief tied over the cap and under the chin, a black jacket with buttons, a very short kind of kilt, and very loose white cotton trousers, these, with black cloth gaiters, complete their dress.  We often wishes we could photograph the different costumes we fell in with, but the trouble of getting them to sit deterred us.

            On the 19^th I took a panoramic view of Cagliari on four plates; exposure about one and a quarter minutes.  The Consul came with me, and was astonished at the quickness of wet collodion even on a cloudy day.

            The next day we started on ponies for a journey into the interior, in order to pay a visit to the grotto of St. Giovanni, which runs for a distance of more than half a mile under a high mountain, coming out into a deep gorge on the other side.  In wet weather the grotto forms the outlet for a mountain torrent, which thus runs under the mountains.  It is full of the most beautiful stalactites and basins formed of petrified water:   the light from our flambeaux and torches being reflected and re-reflected from these presented a most glorious spectacle.  When we got near the end of the cavern, a most curious effect was  produced by the sunlight shining on the rocks and trees outside, being separated into the prismatic colours, which caused everything to appear as if encrusted with every kind of previous stone.  After spending several days shooting, we returned in order to spend Christmas Day on board, which we did in true English fashion, our dinner consisting of a turkey, roast beef, and plum-pudding.

            On the 27^th I tried to photograph, but the wind was too high; so we amused ourselves by printing pictures, for we always got positive proofs as soon as we could, in order to keep up our albums.  The sight of this caused great astonishment; for the people said that they often heard of travelers photographing, but never saw any results.

            On the 29^th I went to take an old Roman tomb—supposed to be that of a doctor, from the serpents which are cut on the façade.  I found it rather difficult from the deep shades cast by a very bright sun.  I commenced with thirty seconds, and finished with 1 ¼ min.  I tried to get a very pretty girl, Marie by name, to include herself in the picture, but I could not induce her to stand quiet.  I next took a picture of the graves cut in the rocks, attributed to the Venetians, who founded the city Calaris, on the site of the present Cagliari.  These chambers are coated inside with plaster, with a hollow recess cute for the body, and little niches for their lamps, and gods just over.   One we saw was for the reception of a family, several of the recesses being for children.  They were entered by a descent of a few steps and a door.  There was, also, an entrance at the top; but this was covered in with flat stones, and evidently was intended for the dead body to be lowered  through.  Several of these chambers are now inhabited by poor people.  After this I went to the Roman amphitheatre (exposure forty seconds, and for stereoscopes eight seconds).  It is very hard work trotting from place to place, even when you are lucky enough to have men with you to carry about all your things.

            On the 31^st we completed our photographic labours at Cagliari by taking a panorama from the east side, on four plates.  The light was very bright and difficult, the mountains in the distance developing very dense.  We printed some pictures to present to our photographic friend, Mr. Craig, who had paid us great attention, and lent to us the numbers of the Journals [find ref.] we had not seen, in one of which was announced the heart-breaking loss [of] the president of the Dublin Society, Capt. Henry, had sustained by the sinking of his yacht, the Mariquita, in Holyhead harbour, with all the negatives he had taken during a trip of the same character we were now enjoying.  It is difficult enough to get pictures at home; but abroad it is ten times worse, where all sorts of obstacles and hindrances are continually arising which present you taking the pictures you wish, and which, too, you may never had an other opportunity of procuring.

            On the 1^st January, 1860, we unmoored at day break, and got under weight for St. Antioco; but a fresh wind springing up from the westward, we altered out course, and steered for Tunis, in order to visit the ruins of Carthage.  We reached Cape Carthage by dusk the next evening, and the wind failing us, we brought up for the night, the navigation being bad for want of lights.  We weighed anchor next morning early, and sailed close past a number of ruins, some large masses of brickwork being very apparent.  We brought up off the Goletta, which is the Port of Tunis; the town being nine miles off on the other side of a shallow salt lagoon.  We paid a visit to the Consular Agent here, and then went up to Tunis in his boat.  Here is seen an Eastern city in all its filth and glory:--Moors in gorgeous flowery dresses; camels in numbers going through the narrow streets; natives talking and quarrelling with each other in Arabic; negroes strutting about, considering themselves as good as you are, whom they look on as an intruder, and, if you could understand them, you would hear yourself cursed for being a Christian.  We called on our consul here, Mr. R. Wood, and also went to see the French one, Monsieur Roche, to whom we had a letter of introduction.  We made arrangements for amusing ourselves, for here it is necessary to get orders for everything.  In the afternoon we returned to Goletta and got a curious document from the admiral to allow us to land in our boat at Carthage.  It is impossible to tell which was the top or bottom, it being written in Arabic.

            The next morning we started in the gig, with all the photographic apparatus, with our revolvers in our belts, and all the men with cutlasses; for we were told it was necessary to be armed when you go into the country, the Arabs thinking nothing of murdering you if they get a chance.  When we landed, some soldiers came down to look after us.  We found they could not read a word, and we could not make them understand by signs that one order was of use for more than one person, but we carried up our things to the ruins and began operations, my friend taking those to the south, while I worked more to the north:  we each had one man to attend to us.  I got on pretty well; and when I had done three or four pictures went to see how the other establishment was progressing.  “Well, Sam,” I said to the coxswain of the gig, “how are you getting on?”  “First-rate,” was his answer; “think we shall lick you to-day.”  In a minute or two my friend emerged from under the black cover of his dark box, looking very hot; for though it was January the sun was very scorching.  I then went back and took a picture of the cisterns, which are very curious.  These are nineteen large square chambers, side by side, communicating with each other:  they are all arched over, and must have held an enormous quantity of water.  We then left off picture taking, and had an al fresco luncheon, and walked about the place.  It is very melancholy to see the decay of such a city as Carthage must have been, the very debris of the buildings being ploughed up, and corn springing up between the broken bricks and tiles.  When we got back to our photographic stations, we found that a Tunisian officer had been down to look at our order again; but of course it was impossible for the men to answer or say anything.  We then packed up and returned to our vessel, which was lying four miles off.  We had some trouble the first fifty or hundred yards in steering the boat clear of the masses of broken marble, which are just covered by water.  In the evening we varnished the pictures with the last of our varnish, and went to bed dead beat.

            On the 6^th Jan. We met Dr. Davis on the ruins.  He had kindly come from Ghomart to show us all there was worth seeing.  He has taken a great interest in this part of North Africa for some years, and has been for some time engaged in making excavations on behalf of our Government, and, consequently, knows every nook and corner of the place.  He showed us the ancient staircase which led from the Byrsa to the seashore, and also the remains of the sea gates.  We had our cameras with us, and took both these places:  the latter was rather difficult to take, on account of the loose sandy nature of the soil, the legs of the stand having to be forced some distanced into the sand before they would stand steady.  While taking the stairs to the sea, my camera was blown over by the wind, but fortunately without receiving much damage.  The next morning we printed some copies, two of which we gave to Mr. Roche, the French consul, with whom we had the pleasure of dining in the evening.  (To be continued.)

 

1861:  BJP Jan. 1, vol. VIII, #133, p. 21-22:

            A Word in Favour of Metagelatine.

            To The Editor.

            Sir.—I have taken the liberty of forwarding you a few slides, trusting you may find them worthy of forming a part of your collection—not as possessing any particular merit, further than that of giving some of our city antiquities; but, perhaps, as specimens of some of the different dry processes, they may have an interest at the present time.

            My experience does not date far back; but, having pursued the study con amore, difficulties are soon overcome.  I have tried most of the many dry processes which have from time to time appeared in the pages of your excellent Journal, and believe that good results may be obtained from nearly all of them; but, so far as my experience goes, I must give the preference to metagelatine.  This, I am aware, is not a favourite; but I cannot help feeling certain that it would soon become so if fairly tried.  The plates are easily prepared; will keep as long as any prepared plates, and give uniformly good results.  During the past summer I have had ample experience of their keeping qualities, kin consequence of the great rarity of fine days.  I may instance the Kenilworth Views sent.  I had one dozen plates prepared, which were kept more than six weeks waiting for a favourable opportunity to be used:  at length I exposed the twelve, and developed a dozen negatives.  I think I have sent you ten prints:  the other two are quite as good as the rest, but I have not printed from them as yet.  The metagelatine I find better than any other process for interiors, as they will bear protracted exposure and development without stains, or breaking the film.  Nos. 101 and 102, The Altar Screen, St. Michael’s, were exposed over two hours, the light being indifferent, and occupied more than eighteen hours in developing.  I use gallic acid and nitrate solution, intensifying with pyrogalic acid.  Both of the interiors (Trinity and St. Michael;) have a bad light, yellow predominating.  With the collodio-albumen  I could scarcely get an impression.  I have tried the various collodions advertised as specially adapted for certain processes, &c., but I now use one kind for every process, which I find all that can be desired.  No. 9 is a specimen of its rapidity, used wet.  No. 77 is simply the collodion plate, slightly washed in distilled water on its removal from the nitrate bath, then washed with a weak solution of  salt and water, with a final slight wash of distilled water, dried, and kept three days:  exposure, three seconds, and developed with iron.  The sky has been stopped out, which does not improve the picture.

            I intended giving the different exposures, as I have memoranda (in making experiments for the purpose of comparison this was necessary); but, unless you wish it, I will not take up your valuable space.

            With regard to quickness, I have found Fothergill most rapid, metagelatine requiring a shorter exposure than the collodio-albumen; but having so little bright light this summer, the results have not been so good as I could have wished.  I have generally used a pair of Grubb’s aplanatic lenses, and like them.  I also find large plates prepared by the metagelatine process far superior to the Fothergill or collodio-albumen.  I send you a print of one of our city gates, in fact the only one now in existence.—I am, yours, &c., J. Wingrave.  Coventry, Dec. 6, 1860

 

1861:  BJP Jan. 15, vol. VIII #134, p. 31:

            Obituary.—On the 30^th ult., at 1167, Princes Street, Edinburgh, Miss Anne Taylor, Photographer.

 

1861:  BJP Jan. 15, vol. VIII #134, p. 32-33

            Palestine in 1860;  or, A Photographer’s Journal of a Visit to Jerusalem. No. II.  By John Cramb.

            I have previously intimated that the 9^th of April had been fixed on as the day of my departure.  I did actually leave on the morning of the 10^th.  Permit me to take stock of my luggage as it lies on the railway platform, pounced on by the officials as far exceeding the amount allowed free with a single passenger.   “Seven packages, 435 lbs.—313 extra, sir!” shouts the man in green corduroy.  The money is paid, and the boxes are safely placed on the top of the carriage in which I am to travel—a condition of things I could have wished I were assured would be possible during my journey.  Taking so much luggage along with me proved very troublesome and expensive, without counterbalancing advantages.  Indeed, but for the certainty of having anything whenever one wanted it, I should say it would have been quite as safe, much cheaper, and far more convenient to have sent nearly all the boxers by ship to Alexandria, Jaffa, or Beyrout; and by so doing one would have avoided that most horrid of troubles, the customs’ examination in passing through France.

            London, through upwards of four hundred miles from my home, was reached in less than twelve hours; and I could have wished to have remained a day or two, if but to mark the progress our art was making in that great centre of everything.  But, no!  I must be in Marseilles on the 13^th; so I was reluctantly compelled to set off at once for Paris.  Here a trial of my patience awaited me.  Travellers who cross the Channel about “the witching hour,” and arrive in Paris between nine and ten in the morning, with every qualification for doing justice to a dejeuner à la fourchette, are not in the best condition for enduring the tiresome ordeal of a custom-house examination.  I had imagined that, as I was going direct through France, there would be some arrangement by which my luggage could be sent under seal direct to Marseilles, in the same way as it is from London to Paris.  No!  The Chemin de Fer du Nord has no connexion (sic) with the Chemin de Fer de Lyon à la Mediterranée.  To come to the point.  I was politely—a Frenchman does everything politely, not kindly or civilly, though—I was politely informed I must open every package, and turn out on a railway platform every part of their fragile and, to me, very valuable contents.  The reader may guess how it shocked my nervous system to think of undoing my carefully-packed parcels of albumenised glass such circumstances.  Perhaps a less stringent survey might have satisfied; but, on opening the boxes that contained my stock of glasses, the sight of one box within another seemed to the lynx-eyed officers to speak of deception and promise a capture.  I took especial care to inform the officers of the Douane what was in every box before opening it, and by so doing anticipated saving myself the pain of seeing them “pawing” my prepared glasses one by one.  All explanation, straightforwardness, and sincerity were quite lost; and the amount of labour to themselves alone saved me from having my preparation of the glasses all destroyed, and from everything being turned out of its place and then hastily packed, risking the breaking of the while of the fragile contents of my boxes.  After an hour and a-half of examination the boxes were closed, and in another hour I was informed I would have to pay duty of the glass, but that I could recover that at Marseilles on embarking my goods on board the steamer.  There is a new difficulty.  Is this plain glass?  If not, what is its value?  Right, glad was I to be told I must pay seventy-two francs, and that having paid which I and my traps might go wherever I felt disposed.  I had entered Paris before with my camera and other photographic paraphernalia, and found no difficulty or annoyance.  Probably this time the more imposing appearance of my baggage had excited the cupidity of the executive at the Douane.

            I was in Paris—I was going to say the birthplace of photography—one of them would be more correct.  I took a stroll along the Boulevards, not interested in the gay, giddy crowd that flooded along, but absorbed in their miniature shadows on the wall.  The Parisian photographer had not begun to show the life size, and as much longer as you like, which seems to be “the thing” now.  Nothing remarkable was to be seen.  Le Gray—who had often astonished and instructed the photographic world, and who two years ago had set the art-world in raptures with his “sea and sky,” and by it had done more to win for photography a position in the estimation of Fine-Art critics and collectors than even the most sanguine lover of our enchanting art could have hoped for—had left Paris, and his princely establishment was advertised to come under the auctioneer’s hammer.  I remarked again, as I had done before, how little progress the Parisians seemed to make in glass positives—nothing like what one could see in any large town on this side the Channel.  Well, perhaps they judge rightly:  they are not the most creditable productions of our art, even at their best.

            Of Lyons and Marseilles I would like to have said something regarding photography, but will reserve it till my return.  The reader is probably by this time wearied of introduction, and desires to set foot with me on the Holy Land as soon as possible.

            Malta should be reached from Marseilles in about three days.  I was fully five days before I sighted the welcome harbour of Valetta.

            The crazy, worn-out screw steamer the “Hydaspe,” and its pluckless crew of uniformed automata as officers, and half-starved-like lubbers for sailors, were quite unequal to the task of going forward with a heavy sea and head-wind; so, after being almost within sight of Malta, we put about and ran for Sicily, and I had a look at a part of the dominions of his brimstone majesty of Naples.  Rugged and precipitous enough the shores looked.

            I landed at Malta, and resolved to remain there a few days to confirm my health before going father, and did a little in photography as well.  What followed I give almost verbatim from my journal written at the time.

            I am at Malta, or more precisely I am in Valetta, the chief city and port of Malta and its dependencies.  There are two principal islands, Malta and Gozo.  Malta, the eastern and much the larger of the two, is about sixty miles in circumference, about twenty miles at its greatest length, and twelve miles at its greatest breadth.  The island may be said to be one large limestone rock, and pretty nearly a bare one; for, in travelling over its surface, one sees so much of the uncovered rock, and so little of green fields and trees, that its rocky character makes an early and decided impression on the mind.  There are one or two fertile plains of a few miles in extent—as the plain of Nasciar, immediately to the east and south of the bay, which tradition and biblical scholars of nearly every country have fixed as the place of St. Paul’s shipwreck.  These islands are very densely peopled—eight times as much so as England, there being 100,000 souls in Malta, Gozo &c.  There may be said to be one continuous town over the whole of the island of Malta.  The city of Valetta is surrounded with a circle of eight or ten smaller towns:  we just clear one when another begins.  Citta Vecchia, or the old city—Citta Notable it used to be called—was th4e capital of Malta till the government fell into the hands of the Knights of St. John of Jerusalem.  It is now, like most cities which have been “superseded,” a quiet, dull-like place, seeming to exist only for the purpose of being shown to strangers.  It stands entirely on very high ground; and, being in nearly the centre of the island, from any part of it, and especially from the roofs of the higher buildings—such as the cathedral and one of the convents—a fine view is obtained of “Malta and its dependencies.”  Everywhere over these islands places associated with the shipwreck and residence of St. Paul are shown.  Citta Vecchia, as the capital, could not be behind.  There is a church specially dedicated to the Apostle of the Gentiles, and under it a cave, in which the visitor is informed St. Paul lived for three months per penitentia.  There is nothing very marked about it—a goodly size of place it is now; and we were assured it never gets any larger, though yearly cartloads of the stone are carried away by tourists.  Another sight of at least equal interest was the catacombs.  Very wonderful excavations they certainly were; but whether they were for the living or the dead, or if of Phœnician origin or not, I am not able to tell with certainty; so I had better leave them with the many learned doctors who, in this matter, have gone before me in every sense of the word.  Malta is thoroughly Roman Catholic; and here, as in all countries where the religion of Rome prevails, the churches are of great extent and magnificence.  In one small village, or casal, as they are called, amid a squalid people and poverty-stricken dwellings, rises a dome which, for size and beauty, bears favourable comparison with the famous domes of the world.  The village of Mosta has a church which in anything could be compared with the great works of Michael Angelo and Sir Christopher Wren.  Strange to say, the architect of this wonderful building is a Maltese, a poor man, residing, if not born, in the casal of Mosta.  How, you will ask, can so much magnificence be afforded?  The tale we were told was this:--The architect conceived the plan; a parish priest took it up, and left his fortune—a goodly sum—to begin the work, and organized the plan of getting the rest done.  The villagers would not give money, nor, indeed, anything else.  But their time on Sundays and the many feast-days was the Church’s, and that they gave.  The church has been built on Sundays, and all with free labour.  Well, their reasoning was not so bad, for they worked for God on the Lord’s-day.  Except a fine portico and a recess in which the altar is placed, the church is a duomo orcivoular building, surmounted by a dome.  I do not know the size exactly:  I think about a hundred and eighty feet in diameter, and of very great height.  When one enters, the feeling of the sublime is great, though, being yet unfinished, the effect is considerably impaired.  Yes, not finished; and it has been already thirty years in building!

 

1861: BJP Jan. 15, vol. VIII #134, p. 37-38

            Exhibition.  London Photographic Society’s Exhibition.

            Cards of invitation were issued for the private view of the eighth annual collection of photographs, by the authorities of this society,  for the 12^th instant, upon which occasion a goodly gathering of photographers and their friends took place at the old quarters, No. 5 Pall Mall East, where most of the preceding Photographic Exhibitions have been held.  A large amount of interest was manifested upon the occasion, as well by visitors as photographers, evincing the steady progress in popularity achieved by our favourite pursuit.   It would be quite impossible for us to enter into any lengthened and detailed criticism of the various works displayed on account of the proximity of our day of publication; yet, we are not willing to forego altogether some account of the present collection as, by the time these lines meet the eyes of our readers, the exhibition will have been opened to the public, of whom many will be glad to know what is in store for their entertainment.

            The hanging committee has adopted a very judicious modification----a recommendation from the pen of our esteemed contributor Mr. A.H. Wall, which appeared in a paper published in our pages but a short time since, relative to the aggregation of the woks of each exhibitor.  To have carried out such a plan in its entirety would have required a very much larger amounts of space than was at the command of the committee; and we are by no means sure that a rigorous adherence to this plan would have so greatly tended to the general excellence of effect.  The works of each contributor of but a few specimens have, as a rule, been kept together; but, when they have been tolerably numerous, they have been arranged in what we may designate as several symmetrical classes, so that there is no difficulty, if the visitors be so minded in going through each exhibitor’s works seriatim.

            The coup d’oeil is decidedly pleasing, and the works in detail do not take off from the first impression.  We cannot forbear remarking, however, upon the extreme complaisance of the hanging committee according so large a space to the productions of a few portraitists, including a very considerable number of coloured specimens which have been, however, judiciously arranged together, but which occupy very nearly the entire of the south side of the room. 

Most of the other specimens are contributed by the old familiar veterans of the photographic art, including the names of Bedford, Fenton, Mudd, Robinson, Morgan, Wilson, Downes, Lyte, Dixon, Piper, &c.; while the absence of a few of the celebrated names is no less remarkable.  We noticed nothing from Rosling, Frith, Rejlander, Llewellyn, Turner, White,  or Thurston Thompson.  As some compensation, however, we find a few new artists that are likely to be men of mark, amongst whom we may cite David Campell, William Lloyd, and P. Dovizielli.

            So much for general observations.  We will now proceed to make a few particular ones in connexion [sic] with the works displayed for our admiration.

            On taking up a position in the centre of the gallery, and glancing around, we are first struck with the fact that Mr. Roger Fenton has come out in an entirely new character, and may now be regarded in the photographic world in the same light as Lance amongst painters, whose studies of fruit and flowers (oddly enough designated “still life”) are of a world-wide reputation.  The present collection is enriched by about a dozen of the most charmingly-grouped specimens of magnificent samples of fruit and flowers, so completely in the manner of the renowned artist already named that, on first seeing the, we could not help exclaiming—“How delighted Lance would be with these!”  It is not a little difficult to make a choice from amongst such a collection, but, perhaps, that on “the line” a little to the right of the centre and one immediately below it, are amongst the most charming.  In the former, the petals of a delicate rose and those of a lily are rendered with exquisite felicity.  That group a little below “the line,” to the left of the centre, is also very beautiful.  We congratulate collectors of photographs upon the new pleasure that is in store for them in acquiring some of this novel class of productions.

            It must not be supposed that, in assuming a new character, Mr. Fenton has abandoned his old ones; on the contrary, as a landscape operator, he comes out in as full strength, so far as skill is concerned, as in any former year.  Amongst these works we may mention specially, The first view of Ullswater from the Keswick Road, and a charming view of Derwentwater looking towards Borrowdale, somewhat iu (sic [in]) the style of Mr. Wilson, of Aberdeen.  The mention of this gentleman’s name is opportune, for, on turning towards one of the centre screens, we recognise with pleasure some of his artistic gems, which, though but Liliputians in size, are true giants in beauty.  There are six Studies of Sunset in the Loch of Park, Aberdeenshire, and as many of sea views, including the Great Eastern at Southampton, which, in their stereographic form, we have so recently noticed that it is needless again to criticize them.  There are six other subjects also, only one of which is familiar to us.  Two of them deserve especial notice—A View in Glencoe, in which the gathering mist on the mountain side forms a prominent and striking feature; and Loch Katrine, in Perthshire, which presents a scene of placid beauty seldom equaled.

            Mr. Bedford’s works are always fresh and always welcome, doubly so when they include (as on the present occasion) many well-remembered scenes, some of the most charming in Somersetshire and the North of Devon, Lynmouth, Ilfracombe, &c.  We have also records of the late excavations of Uriconium (Wroxeter), and a gem entitled A Study of Nature, in which the rugged stem of a tree is surrounded by a charming conglomeration of ferns, ivy, meadowsweet, and brambles.

            A near relation of the preceding is a Study of Foliage, by Mr. Dixon Piper, on the north wall of the gallery, in which the dock, coltsfoot, ferns, ivy, &c., take part.

            The post of honour—the centre of the top of the room—is awarded to Mr. Henry P. Robinson’s important composition picture of The Holiday in the Wood, which we have recently described.  The same artist has also another production or two of minor interest.

            Mr. Mudd has lost none of his former skill, and will certainly gain in prestige.  Of many fine productions, the most exquisite is one, On the Greta, Rokeby Park, in which the effect of atmosphere and distance is unusually fine.  Another picture, designated In Teesdale, is also particularly noteworthy.

            Mr. Downes exhibits numerous reproductions of paintings, some of which are familiar to frequenters of the various metropolitan Art Exhibitions.  It is very observable how the kinds of colour empoved (sic [employed?) in the paintings influence the photographic results.  The vivacity and bustle of Mr. Hicks’s picture of The General Post Office are capitally rendered, but we miss the colouring; while in Mr. Lewis’s Punch the loss is but little felt.

            Mr. Maxwell Lyte is, as usual, in the first rank among photographers, his contributions to the present exhibition being unusually fine, possessing a depth of poetry quite out of the common way.  His Valley of Pierrefitte and Valley des Eaux Bonnes leave nothing to be desired.

            Mr. Lyndon Smith, like many artists who adopt a mannerism, and elaborate a perverse idea, has, duriug (sic [during]) the past season, still further mis-ified his productions.  The artistic merit—spoiled to some extent as it was, but which however those of last year undoubtedly did possess—is, in our estimation, entirely wanting in those now displayed.  What can be the value of such a “thing” as that immediately over the entrance door?  An under-exposed branch of some tree, with a background of—smudge, looking like a rough landscape on blotting paper that an unfortunate black beetle, which had just taken a bath in the inkstand, has been crawling over.

            The exigencies of time and space will not permit us to make more than a casual reference to a few other subjects.

            Mr. Heath makes a fair show.  His Gardener’s Cottage, at Endsleigh, is the specimen which we prefer, and, though the foliage has been sadly interfered with by a stiff breeze, the evil effects have been cleverly counteracted by vignetting the subject.

            Mr. William Lloyd may become a clever artist.  His view in Beckworth Park is good.

            Mr. Bourne has two frames, each containing four subjects, all worthy of attention.

            Mr. David Campbell is also an operator possessing considerable skill:  his Auld Brig o’Doon, Ayrshire, and Home!  Sweet Home! are excellent landscapes.  We perceive that Mr. Wardley puts in an appearance with a scene in Ambleside that is very nice.  Captain Dixon has some interesting illustrations of Indian scenes.  We must not omit to mention a very fine photograph of Raglan Castle, on two pieces of paper admirably joined—and almost perfect, whether regarded as a picture or a photograph—the work of Mr. Earl.

            Mr. Reeves Traer comes out with a few of his microscopical illustrations.

            Mr. Morgan, of Bristol, exhibits some of his well-known landscape beauties, of which we prefer A Scene in Leigh Woods.  Mr. Claudet has an admirable likeness of Dr. Becker amongst his numerous portraits.  While on this subject, we cannot forbear a few words of high commendation to Mr. Hering for some admirably executed and artistic portraits of children.

            With this we must for the present close.

 

1861:  BJP Jan. 15, vol. VIII, #134, p. 38

            Foreign Correspondence.       Paris, January 11, 1860.

            Some months ago I wrote to a friend of mine, belonging to the Expeditionary Corps in China, asking him to communicate to me any information that might be interesting from a photographic point of view.  He informed me in his next letter that the stereoscope was in full vogue at Shanghai.  The Chinese, whose patience is indefatigable, and who have a mania for imitating everything, had copied with marvelous correctness, he said, the views, whose clearness and delicacy they had so much admired.  He added that, speculating on the dissolute morals of the country, European photography had inundated the shops with pictures which were more than light, and that these detestable productions were to be seen, not merely in the sing-songs, but in the flower-boats.

            In answer to subsequent inquiries as to the photographers to be found among the French officers, he wrote on the 25^th of August:--‘Antoine Faucher, official correspondent of the Moniteur, is also attached to the Photographic Mission of Colonel Dupin, Chief of the Topographic Office Expeditionary Corps.  We had also, at the

Tche-fou camp, a M. Legrand, a French photographer of Shanghai; but, besides his not being a first-class artist, he has given himself to the liquor trade with the army, and has abandoned the objective for the petit verre.”  Thus, according to this information, there are at least three persons on the theatre of war capable of taking views with the camera, without counting our ambassador, Baron Gros, himself a master in the art.  I know that in his high official position he has neither the means or the leisure for turning his operative talent to profit.  Still, for those who know him as we do, it is a matter of astonishment that he did not secure the services of one of the persons above mentioned for the representation of the eminently curious objects offered by the country which has been traversed by our troops.  I know nothing of Colonel Dupin; but I know that Fauchery, of the Moniteur, is a pupil of Nadar, and, consequently, capable of obtaining excellent results.  With regard to M. Legrand, I have seen some of his stereoscopic pictures, and, though they are not of the best, they indicate a very sufficient practical knowledge.  With these facts before me, I have been unable to understand the regret expressed by General Montauban in his official report of the capture of the Emperor’s summer residence.  His words are:--“A volume would be necessary to paint all that I have seen:  my greatest regret is, that I had no photographers in the expedition to reproduce that which words are powerless to express.”  It is certain that men of art and of science, and all those who appreciate the value of the artistic riches described with so much enthusiasm by the General-in-Chief himself, will regret, as he does, that at least the image of what was scattered or destroyed has not been preserved.  Perhaps the leaders of the English expedition were more fortunate or more provident, and so were not reduced to bear testimony to the utility of photography by deploring its absence.

            Those of your readers who have been at Paris during the week separating Christmas from New Year’s Day will remember that at that period the footways of our boulevards and leading thoroughfares are bordered by wooden booths, sheltering a host of small dealers.  These are mostly work-people, who having bought second class articles and waste goods at a low price, take advantage of the moment of universal purchasing to sell them for a modest gain.  In previous years photography had made its appearance in these open-air bazaars:  it had been represented by stereoscopic views on paper, which were half effaced, or which bore traces of defective printing.  This year, the goods of this kind were of better quality and of a higher price.  Card portraits lay side by side with stereoscopic pictures; and here and there were to be seen the fashionable photographic albums.  The stall-keepers that had selected this branch of Parisian commerce must have been satisfied with their choice, for certainly their receipts were not among the smallest.  The licensed publishers, stationers, and printsellers had surpassed themselves in their costly display, in which photographic novelties made the principal figure, and which the amount of their transactions amply paid for.  The portraitists, of whose embarrassment from the unfavourable weather I spoke in my last letter, will not have to complain.  A fourth-class man has been mentioned to me at whose establishment people were obliged to take their ticket of order two or three days in advance, according to the practice of the most reputed houses.  Most letters containing the compliments of the season contained also the portrait of the friend or relative who had written them, and asked for the like in return.  It was a general interchange of faces—faces pretty or plain—faces full of dimpling grace, or furrowed by the plough of time—but faces ever welcome; for those even which were not dear to memory at least augmented the collection already begun, and so had their value.

            Apropos of portraits:  a story was related to me yesterday, which will give an idea of the manner, more ingenious than honest in which certain ambulant photographers of the class I have already described to you, turn to account every circumstance for exploiting the public.  One of our most renowned and fashionable portraitists lately announced in the journals that he had just installed a branch establishment in the neighbourhood of Boulogne.  Up to the present time, the ground which this branch establishment will occupy is unbuilt on.  However, the eager amateurs who repair to the spot find at the door a photographer, armed with his objective, who accosts them thus:--“I am one of M.-------‘s first operators.  His new operating-room is not yet built but he has commissioned me to offer my services to those who may present themselves.  If you will be kind enough to follow me I will take your portrait at once.”  And he conducts the visitor to an adjacent booth, making many excuses on the way for the rustic simplicity of the premises.  Many persons prefer to return on some other day; but some allow themselves to be caught, and so the trick is played.

            There is some talk at present of experiments whose results I shall probably be able to communicate to you soon.  They are on the application of gluten to photography.  This body acts chemically, as does albumen, and it is thought that it may perhaps render the same services as the latter, if used as a vehicle for the luminous image.  This would be a real progress in a practical point of view, on account of the difficulties presented by albumen in its preparation.  –Ernest Lacan.

 

1861:  BJP Feb. 1, vol. VIII, #135, p.46-47:

            Palestine in 1860; or, A Photographer’s Journal of a Visit to Jerusalem, By John Cramb.  No. III.

            After seeing Mosta, I did not think the cathedral at Citta Vecchia so grand as I might have done, notwithstanding its gilded and fresco-painted ceiling, its many-coloured marble pilasters, gorgeous marble altar, and real silver services.

            Boom! Go the buns of H.M. ship “Agamemnon,” reminding me as I wrote that I was under the protection of some ten or a dozen of the largest of our wooden walls.  No fear of forgetting that there, though; for one saw sailors everywhere.  Rare sport “Jack” makes, too.  He is fond of being mounted; and such a row he makes on horseback!  The Maltese, whose horses they hire, are generally good runners, and manage, by keeping up with the tars, to save “Jack’s” neck and their own horseflesh.  One day we saw one deliberately trotting behind, and while the sailor belaboured the beast, and spurred and kicked, the owner by twisting and pulling the horse’s tail managed to “steer” him through the crowd of amazed passengers.

            The city of Valetta, from which I write, and which, as the seat of government and harbour of the island, is the chief or capital city, is built on a narrow neck or strip of land, about half a mile broad and less than two miles long.  On one side of the city is the quarantine harbour; on the other, the naval and merchant harbour—both very fine and safe roadsteads, and both, I believe, perfectly protected by the many forts which are planted at the entrance and on every point which commands them.  The city, as a whole, looks quite European, though there are several features which are peculiarly Eastern.  A large extent of dead wall, a great scarcity of windows, and still greater scarcity of glass, are prominent characteristics.  The roofs are all flat and paved over, affording a fine terrace for enjoying the evening breeze and a view of the surrounding country.  The shops are decidedly peculiar.  There is no window, and the door is the full breadth of the shop, or nearly so—not a very convenient arrangement for those businesses which have work to do.  Tailors and shoemakers, in order to see to work, sit at or outside the door, and pursue their stitching vocations.  The same with other trades.  The temperature being so mild, the Maltese do a great deal in the open air.  I think them a fine people—faithful and honest, tolerably industrious, and able to endure a great deal of fatigue.  It is rather singular they are not a richer people.  But I do not think they are ambitious, or fond either of wealth or power.  They seem better suited for servants than masters.  In the former capacity they have a name over the world as the embodiment of obedience, faithfulness, and reasonably industry.  As a people they are vain in a high degree, and immensely fond, in consequence, of jewellery and gaudy ornaments about their persons.

            Their incapacity for government, as a nation, may almost be held established in the fact that in no case have they ever even aspired to it, though they have changed masters times without number since they bowed to the Phœnicians, more than two thousand years ago.  They now willingly submit to the mild government of her gracious Majesty.  It would be difficult to relate all the changes of masters they have had.  The “Knights” alone have left numerous and decided mementoes of their government, and are by all allowed to have ruled well.  This city was designed and, in great part, built by one of the grand masters of that order, La Vallette.  For nearly three hundred years the island was the abode of this embodiment of the chivalry of Europe.  In the church of St. John of Jerusalem, in the centre of the city, lie buried the knights and their squires.  The whole floor of the church is covered with the monuments, which form a kind of Mosaic pavement.

            Photography has found two creditable professional representatives here, and I believe numerous amateurs.  I put out my baths the other day, and took a few views of the streets and more prominent public buildings of Valetta.  In a few days I purposed taking a trip to St. Paul’s Bay, in order to carry off a memorial of that interesting locality.  The water in Malta I found extremely hard, causing a dense deposit of silver salts in the washing waters.  That, however, I knew would do no harm whatever.  I had been accustomed always at home to use the ordinary water for all purposes.  When I came to the development in Malta, I found it very difficult indeed to get on.  The amount of silver I had been accustomed to add to the developing solution I saw was precipitated, and found, on applying it to my plate, that there was no image appeared, though I was confident it had been sufficiently exposed.  I procured distilled water, and with it proved that everything else was right but the water.  I could not, however, make up my mind to use distilled water through my intended journey for that purpose, as I had no means of distilling it myself, and I felt confident there would be no other way of obtaining it in Syria.  By adding a considerable quantity of silver—five or six times as much as I had been in the habit of doing—I got good pictures, using the ordinary spring water of the country.  Strange, the rain water which was in the “well” of the hotel I lived in I found extremely hard, from the lime on the house-tops, and also the lime-lining of the well itself.

            An observable feature in Maltese houses is the balcony.  It is similar to what is sometimes seen at home; but at home the balcony is generally only a railed-in space outside the window.  The Maltese one is quite enclosed, and reaches to the top of the window, and often extends along the whole front, taking in two or three windows, and is all glazed.  It projects a good deal; and in this quiet retreat, sheltered from the sun by blinds, and from rain or wind, the Maltese dame enjoys the luxury of observing what passes below all along the street.  In our climate it would shut out the sun too much from the rooms, as all the light has to pass through these balconies; but everything there seems to aim at making the dwellings as cool as possible.  Just now the temperature is not high; though, bordering on seventy in the shade, it is warm enough to a Scotchman.

            It was pleasant, though, to look on the yellow waving corn, and think it was ripe in the end of April; and pleasanter still to have been eating ripe strawberries for a fortnight.  Tropical plants grow there, though I believe the palm-tree barely grows, giving a thorough oriental feeling to the landscape.  I was disappointed with the orange-tree:  I was told it would look better a few months afterwards.  There were very few leaves, and the large yellow fruit seemed stuck-on like.  The cactus, or prickly pear, was there everywhere abundant, and was very observable from its peculiar character.  I was assured I should enjoy its appearance more on my return, when the fruit was formed and ripe.  Medland (check word – missing letter?) I saw yesterday in abundance, and was assured they were ripe.  I thought them sour:  perhaps that is their best taste.

            After the grain crop is removed, I believe the Maltese farmer grows a crop of cotton.  I shall see what for he first time on my return in autumn.  Another crop, I was informed, follows the cotton.

            There is scarcely anything of national peculiarity in the dress of the Maltese, except in the head-dress of the women.  The “onnella,” which is at once a covering for the head and shoulders, is not unlike what prevailed in Scotland forty years ago.  It is usually made of silk, and has a piece of whalebone sewed into it, which makes the cloth stand out from the face, and forms an arch over the head, the left arm is covered by the habit, and the right hand is used to hold it together.  The hands so placed, and the mild, resigned-like looks of the Maltese ladies, give them the appearance of nuns or religious devotees, especially as they are so often going to and from church.

            The whole population seem very great church-attenders.  Every hour in the day, and every day in the week, you find crowds hurrying into their places of worship.  I would say they are a religious people.  Pity they are not blessed with a more intelligent religion!

            There are no manufactures there, nor, indeed, any commerce.  It is a large victualling-yard for the navy and merchant service.  The government seems to be the principal employer.  The climate, I suppose, is healthy.  I understand many invalids go there in search of health; many, no doubt, to find a resting-place in the little cemetery at Floriana.  I should think Malta is disposed to make one bilious; so those so disposed had better not go there.  The people are very highly bilious in temperament, no doubt produced by the soil or climate, or both; and during my short stay there I have seen enough to convince me that new-comers feel the influence.  The good-looking among the Maltese are, I think, beauties; but that is the exception.  As a rule, they are spare and hard-featured; and the children never being chubby, but thin and hard-muscled, an either ugly or unchild-like—at best, miniature men and women.  Sometimes one lights on a pair of glorious black eyes, which, if I were not a sworn bachelor, might produce fatal effects.  As it was, I admired Nature’s workmanship, and passed on.

            During my stay I went to St. Paul’s Bay, which tradition has fixed on as the place of shipwreck of the great Apostle of the Gentiles, while on his perilous voyage to Rome to have his appeal heard before Cæsar.  This is about ten miles from Valetta, and an agreeable drive for a day.  I took views of the bay, the “creek with the shore,” into which the sailors “were minded if it were possible to thrust in the ship;” also of the “place where the two seas meet,” where the ship was run aground.  All went tolerably well with me photographically.  The heat was considerable, but not such as to be either personally troublesome or materially to disturb my photographic operations.

            I must now finish my very hurried, imperfect sketch of what I have seen and heard in Malta.  I leave to-morrow for Jaffa, and in a few days more I hope to be in Jerusalem.

            May 1^st, 1860.

 

1861:  BJP Feb. 1, vol. VIII, #135, p. 47-48:

            Notes of a Photographic Yacht Voyage in the Mediterranean.  By W.J.C. Moens.  (Concluded from Vol. VII., page 370)

            On Sunday we went through the torture of a Turkish  bath, part of the process being to crack all your joints.  It was most ridiculous to see a grinning demon of a Moor putting his foot against your ribs, and hauling with all his might, to crack the joints of your arm.  After reclining on a divan, smoking a chibouque and drinking coffee, we engage a carriage, and drove to Ghomart, twelve miles off, to pay a visit to Dr. Davis, who resided there with his family.  The Europeans at Tunis considered it so dangerous that they were quite afraid to go and see them, and the Bey had sent word to him that he would not be responsible for their safety.  One of their servants, Ali by name, confessed to Mr. Davis that he had committed no less than seven murders; but he was very much attached to the family, and would do anything for them.  The figure on the extreme right in the group is the individual I refer to.  We were received with a hearty welcome, and after dinner walked up the hill to see the catacombs, which were inhabited by hyenas and jackals.  The next morning we took a picture of Ghomart and Mr. Davis’s family, and late in the afternoon tried the Plain of Carthage, but it was too misty: the camera had to be pitched facing the south, so that it was only do-able in the very early morning or late in the afternoon.  The next morning it was misty and rainy, so it was no-go for the plain.  We started with Mr. Davis and the ladies for the village of Moalka, in a chaise and cart, in order to photograph the large cisterns there, a good, many of which are turned into dwellings.  When we arrived there it was raining, so we took shelter in one of the cisterns, and erected the dark-box, and between two showers managed to do the work:  the camera was pitched on the top of an old wall, in a most difficult position.  While I was developing a plate the camera was again blown over by the wind, and was only saved from utter destruction by my friend, who was standing by it, catching by one of the legs.  I heard all the party call out, and guessed at once what was the matter; but I continued developing, and, on emerging from under the black cloth, was told it was all right, which greatly comforted me, for I had imagined it had been dashed all to pieces.  We then proceeded to the ruins, and, after lunch, took a stereoscopic picture of the Temple of Saturn, and in the evening returned to Goletta and went on board.

            The next week we spent in a shooting expedition to Bezerta, leaving our cameras, &c., at Tunis.

            On Friday, the 20^th Jan. we started for Zoghwan, about thirty miles from Tunis, in order to take pictures of the noble aqueduct that used to carry water to Carthage.  With great difficulty we got in the carriages to where it crosses the stream, in the centre of a plain about five miles wide, across which the stupendous work runs—not quite in a straight line, but a little in and out, in order to protect it more from the force of the wind.  We had some debate on the best position to take it form, and it was settled by taking pictures from two points.  You can see from the copies I hand round the grandeur of the work, the piers near the river being built of stones about two feet high, neatly beveled off at the edges.  There are sixty-two rows of these, and in many of them you can see the holes in which the clamps were put to raise them by.  Also you can notice one column built of sun dried bricks, by the Saracens, who did not take the trouble of restoring it in the same style as the rest.  In another place the top of one of the arches had b een repaired with long Roman bricks.  Aqueducts built with two tiers of arches are very rare, and this is a far grander work than the one in the Roman Campagna, which we saw some months after.  The large pier on the right of the picture was in process of being blown up in order to make a bridge with the materials, so that my photograph was the first and only one that would ever be taken of it.  The figures on the other side of the river are the American Consul at Tunis and his dragoman, who had gone to shoot a fox that we had seen just before.

            We left at twelve for the ruins of Udina, an old Roman town, where the cisterns, amphitheatre, and stables capable of containing several hundred horses, are very perfect.  An old Arab we met on the ruins moralized on them, and said:--“look at these old ruins:  who knows what people built them?  What has become of them? and where are they now?  Shall not we also pass away in the same manner, and those that come after us will know as little of us as we know of those that dwelt in this town?”  We had not time to photograph, so we had dinner on the ruins, got into our carriages again, and arrived at the town of Zoghwan at half-part four.  There were no roads for carriages, but we had to go over the country the best way we could—over the corn just sprung up, or through the bed of a river.  There were three horses harnessed abreast in each carriage, and the drivers were Maltese, who always act as coachmen in this region:  we paid about ten shillings a day for each vehicle, provender included.  When we entered the town the Cadi was informed of our arrival, and he had to find a house for us, and to supply us with provisions, horses, and, in fact, everything we required.

            The documents that the Bey had presented to us at Tunis enabled us to make all these demands from the head of the town.  The next morning it was raining hard, to our great disgust.  It was impossible for us to move out of doors, but at twelve it looked a little lighter; so we ordered a horse to be brought, with panniers, and we started for the ruins of the Temple, built over the place where the spring gushes out of the mountain.  The water was conveyed to Carthage by the aqueduct from the Temple being on the side of the mountain, which towered some thousands of feet above it.  There was some difficulty in finding a suitable place to take it from; but we found one of the other side of a ravine:  this was some distance from where I had put up by dark box under cover, so I transferred my macintosh from my shoulders to my camera, and went back to prepare a plate.  I had to give a long exposure.  It was raining all the time, but the picture turned out pretty well.  I then took two stereoscopic views from the top of an old arch which I thought would tumble with me all the time.  It continued raining all day.

            The next day the American Consul, who was with us, had a dispatch from Tunis to say that the Bey was going to be installed the next day, the firman having arrived from Constantinople the day before; so we returned at once, for it was a point of etiquette for him to be present.  On Monday we went with the diplomatic corps to the Bardo Palace to view the spectacle, which was one of barbaric splendour, the whole road from Tunis to the Palace, about a mile, being lined with the troops, and about 8000 Arabs, all mounted on their own horses, who had come from the interior to pay homage to Si Sadoc, their new sovereign.  After the ceremony they engaged in tournaments and all sorts of wild games.

            In the afternoon we bade adieux to all our friends in Tunis, and returned on board.  In the evening I tried to make some varnish, with some gums I had got in the town, and, to my great horror, upset the alcohol, which caught fire, and ran all over the cabin alight.  We soon put it out, but it caused a great fright; for we were lying out in the bay, about a mile from the shore.  All spirit operations by candle-light were interdicted for the future.  I was in despair about varnish; for we had nothing but some nasty crystal varnish, that was not at all suitable for negatives.  The next day we put all the printing apparatus in the boat, and rowed round Cape Carthage to Ghomart.  We had some difficulty in landing, on account of the surf.  We stopped here a week, for our friends would not hear of our going while the weather was so bad; so we spent the time in printing pictures, and taking portraits of ourselves, dressed in wild native costumes.  I sent one of myself home to England, without saying who it was.  It was not recognised till, in the next letter, I asked what they thought of me dressed as an Arab?

            On Monday, the 30^th, the weather was more moderate, and we sailed for Palermo, at about two o’clock, saluting our friends with two little cannon we had on board—they in return waving flags from the top of the hill.  The next morning, by ten, we reached Palermo, having sailed about 180 miles in twenty hours.

 

1861:  BJP Feb. 1, vol. VIII, #135, p. 48:

            Stereographs.  Views in the Catskill Mountains and in the Highlands of the Hudson.  (E. Anthony, Broadway, New York.)

            It is much to be regretted that out of a dozen slides now before us no more than four have any indication of their precise locality attached to them, nor even any numbers:  so that it is very difficult, if not impossible, for us to indicate intelligibly those to which the remarks we would otherwise make would apply.

            There are two slides of the Catskill Falls—one described as “from below.”  These present a very different aspect to the “falls” in the northern parts of our own island, not so much on account of their magnitude as of their surroundings; the geological character of the district of the American falls presenting a laminate structure, so that there is an absence of the roundness noticeable in the rocks of a different structure, over which a stream of water is continually passing.  Of these two, one is a view taken from an elevation, where the waterfall is seen against a background of nearly still water of the lake below, which a little mars its effect, and in neither is the gauzy transparency of the falling water given with anything approaching the perfection with which Mr. George Wilson would have rendered it.  But this is a highly interesting slide notwithstanding, containing, as it does a beautiful scene with which European eyes are generally unfamiliar—a dense pine forest, growing quite up to the margin of the lake the stems springing apparently from out the solid rock, and is faintly suggested again, rather than repeated by reflection, from the calm waters.

            The Bastion Cascade in Catskill Mountain Glen is open to the same objections as regards the “fall” as the preceding , the water being far too opaque for artistic effect, but the subject is fairly treated, would be a fine one.

            Silver Lake, Catskill Mountain Top, gives an admirable view of the solitude and repose of the locality, and is of a very simple character, consisting merely of a dense pine wood on the margin of a still lake.  On the near bank two birch trees stretching over the water, with the peculiar light-coloured bark peeling off the stems, form a striking picture.

            Of the Highlands of the Hudson we can say but little, for the reason already assigned; but seve4ral of the slides disclose expansive and beautiful views, including mountains, hamlets, and the noble stream of the Hudson river.  Were these properly brought before the public, we have but little doubt they would meet with a ready and extensive sale—not only on account of their novelty but for their real beauty also.  We believe that Mr. Atkinson of Liverpool is Mr. Anthony’s agent in this country.

 

1861:  BJP Feb. 1, vol. VIII, #135, p.48:

            Views of Coventry and the Neighbourhood, by J. Wingrave, High Street, Coventry.

            Mr. Wingrave has been attempting to “kill two birds with one stone” in preparing the series before us:  firstly to procure a supply of the most interesting objects in the vicinity of Coventry, where-with to tempt visitors; and, secondly, to test the excellence of the various dry processes upon glass, which have been so abundantly brought forward of late.  We perceive, on looking over the specimens, that the metagelatine process has been most in favour; and this is not surprising, as the best slides are amongst those printed from negatives taken by it.  Of these we will mention a few:--

            Grey Friars; Hospital, Interior of a Courtyard (No. 8), a curious specimen of ancient domestic architecture, and was found in 1529, as we learn from the label attached to the slide.  The windows of the upper storey all look into the courtyard, or, to speak more correctly, the whole of the internal sides of the quadrangle are windows.

            St. Mary’s Hall (No. 15), [Fleming collection illustration] without any pretensions to beauty is still interesting to the local antiquary, and the slide contains also, apparently from its close proximity, a specimen of one of those wooden houses, with projecting upper storeys, so picturesque in a drawing, though obnoxious in a sanitary point of view.

            The Reredos, St. Michael’s Church (Nos. 100 and 101), are good illustrations of the great advantage of the stereoscope in reproducing, in a striking manner, the effect of sculptured ornamentation.  One consists of an oblique view of four of the compartments,  and the other of a front and nearer view of two of them:  in both slides the several subjects treated in each compartment are plainly distinguishable.

            Want of space will not permit us to do more than name two or three other specimens, without attempting any descriptions which, in fact, is scarcely necessary, owing to the subjects having been for a long time popular, as affording picturesque illustrations for various editions of Sir Walter Scott’s works.

            Kenilworth Castle, Cæsar’s Tower (No. 82), Archway of The Great Hall (No. 88), Interior of Great Hall (No. 85), will no doubt be amongst the most popular.  No. 84, another view of the Great Hall, being the best as a picture, will probably receive a double share of favour.

            Nos. 67 and 103, are fairly executed interiors of Trinity Church and St. Michael’s Church respectively, but do not present sufficient architectural or pictorial attractions to command more than a local interest.

 

1861:  BJP Feb. 1, vol. VIII, #135, p. 50-51:

            Exhibition:  Architectural Photographic Association.

            The fourth Annual Exhibition of this Society was opened by a private view on the evening of January the 15^th, when a numerous and fashionable assemblage of subscribers and those favoured with cards of invitation filled the galleries of the Architectural Union Company, at 9, Conduit Street, Regent Street, W.  The collection for the present year comprises 488 photographs not previously exhibited, together with 81 sent in on former years.  Most of the subjects have been selected according to the taste of the exhibitor; but others have been taken expressly for the Association, and these illustrate some special point of architectural interest.  During the season, evening lectures will be delivered on The Egyptian Photographs, by Joseph Bonomi, Esq.; The Photographs of French Renaissance Architecture, by E L’Anson, Esq.; The Photographs of French Gothic Architecture of the 14^th Century, by R. P. Pullan, Esq.; The Collection of Indian Photographs, by James Fergusson, Esq.; Architectural Progression, by E. B. Lamb, Esq.; The Grotesque in Art, by J. P. Seddon, Esq.; The Collection of Photographs Generally, by W. Burges, Esq.  Arthur Ashpitel, Esq., will also give a lecture on a subject not yet determined on.  Those who may have recently visited the Exhibition of the London Photographic Society will not fail to mark the striking difference in the general aspect of the      collections; for, as a rule, the picturesque element is here, as might be anticipated, to a great extent wanting; nevertheless the photographs possess features of the greatest interest, and the excellencies of execution testify as to the valuable aid photograph….. delineations are capable of rendering to the architectural st…. for, as Petit observes in his Architectural Studies, “The value      photography in conveying architectural character, combined with the most faithful accuracy of detail, is universally recognised.  It is applicable both to general outline and minute ornament….   The productions of each exhibition are grouped together, but     subdivided as to size.

            We will proceed to notice the productions of the principal exhibitions, in the order in which they stand in the catalogue.  Bisson contributes a fine series of sixty-five photographs, varying in size from 25 by 20 to 14 by 12 inches, comprising general views together with the details of continental cathedrals and other public buildings.  Of these we may draw attention to The Tower of St. Jacques de la Boncherie at Paris (No. 1), which, however, would be improved as a picture if the mass of white sky surrounding the shaft of the tower above the houses were broken up, after the manner Mudd has now accustomed us to.  The Tympanum of the South Portal of Notre Dame (No. 4) represents a quaint sculpturing of the martyrdom of St. Stephen.  No. 6 is a large and effective view of The Principal Entrance to the Palace of Industry.  The well-known Place de la Concorde, and that magnificent pile of building,  The Hotel de Ville, Paris, are finely rendered in Nos. 7 and 8.    The West Portal of Rheims Cathedral (No. 9), and the West Front of Rouen Cathedral (Nos. 13 and 14), attract attention, together with the Palais de Justice (No. 19) of the same place.  The Staircase of Francis I. at the Chateau de Blois (Nos. 27 and 28), the interesting Byzantine Doorway, Bourges (No. 33), the Details of the Portals of Chartres Cathedral (No. 36), the quaint West Front of Notre Dame Poitiers (Nos. 44 and 45), The Doors of Rouen Cathedral, carved by Jean Goujon (No. 50), the Hôtel Bourgtheroulde, of haunted aspect (No. 56), and the Groups of Antique Sculpture in the Palais de Beaux Arts (Nos. 59 and 60), all possess features of archaeological interest.  Not must the Roman Theatres at Arles and Mismes (Nos. 21, 22, 40, and 41) be overlooked.

            Le Grey contributes four views from the tympanum of the portal of Notre Dame, Paris (Nos. 66, 67, 68 and 69).   One of these represents a quaint sculpturing of The Last Judgment, and the last a detail of grotesque character representing An Angel holding a Balance, with a praying figure in one of the scale pans weighing down a devil in the other, whilst the arch-fiend, with greedy eyes is watching the important operations, and an attending demon is attempting to turn the beam in his master’s favour by hanging on to the side out-balanced.  A file of kings, counselors, knights, priests, and q1ueens, who have passed the scale and been “found wanting,” are chained together, like a gang of dockyard convicts and politely attended on by demon warders, who are pushing them on to a warm reception-room.

            W. Nichols exhibits views of the Cambridge colleges, the best being that of The Fitzwilliam Museum (No. 74.).

            Messrs. Cundall and Downes exhibit forty views in England, France, and Spain.  No. 91 represents the engineering works of the Albert Bridge at Saltash.  Nos. 92 to 99 are photographs of Winchester Cathedral.  No. 93 is particularly free from distortion showing the Interior of the Nave, looking West.  The Triple Arch Saint Cross, Winchester, and The Old Well, Alnwick Castle, are of archæological importance.  No. 103 is a pretty vignette view of St. Paul’s  Cathedral from the River—in fact, one of the best photographs we have seen of that noble pile.  The Grand Entrance to the Palais de Justice, Rouen (109) again presents a subject that attracts attention.

            Barnes exhibits two neatly-executed views, the subjects being King’s College Chapel, Cambridge, and the Patriotic Asylum, Wandsworth.

            R. Gordon’s views of antiquities in the Isle of Wight next present themselves, the best being that of Yaverlund Church.

            Tyley exhibits two views of Bristol Churches.

Frith’s Egyptian views, 31 in number, are one of the features of the present Exhibition.  No. 144, giving a distant view of The Island of Philæ, is a picturesque subject, showing a curious stratified appearance in the shallows of the rivers towards the foreground.  Pharaoh’s Bed (145) and The Details of the Columns (146) and Colossal Sculpture on the Pylon of the Structure (147), possess considerable interest.  The Ruined Roman Arch on the Island of Biggeh is as picturesque from a photographic point of view as it is attractive from an archæogical one.  The General View of the Temple of Soleb (151), and The Details of the Pylon and Columns (152-153), claim attention.  From being above the sixth cataract of the Nile, is seldom visited by Europeans.

Mr. Moens contributed a unique collection of photographs of the ruins of Carthage, being hose described in his “Notes of a Photographic Yacht Voyage in the Mediterranean” that have lately appeared in The British Journal of Photography.  These include The Cisterns at Moalka; Cisterns at Carthage; views of Zoylievare, showing The Ancient Aqueduct to Carthage (Nos. 159-159 [sic]); and The Temple at that place over the spring of water.  The Gate of Lions, Mycena; Temple of Jupiter, Egina; and The Temple of Minerva, Suniu m—are perhaps the most noticeable of the seventeen photographs exhibited by this gentleman.

            Dr. J. Murray contributes twenty photographs of Indian subjects all of which possess great interest; but we would call attention to No. 168, The Gateway of the Gardens of Secundra; 173, The Great Temple of Bindrabund; 174, The Taj; 176, The Ford at Agra-a fine group; and 182, an unnamed subject, representing a temple group of buildings, with a curiously carved low wall advancing from the centre of the picture to the left side of the foreground. 

Mr. Annan has sent in ten views of the antiquities of Iona:   MacLean’s Cross (187), The Doorway of St. Oran’s Chapel (188),  The Burial-place of the Scottish Kinds, being those that first fix the attention.  He has also given one of the best general views we have seen of Edinburgh, looking towards Calton Hill from Holyrood.

            Roger Fenton exhibits twenty-four fine views of Furness Abbey—206, 208 (Norman Arches) and 211 being the most to our fancy--Southwell Minster, Harewood House from the Parterre (224), and Kirkstall Abbey (225).  The last, however, is of a gloomy, inky tint being the most marked of a style Fenton has adopted this season, we presume to avoid the defects of the much-decried white paper skies.  The treatment of his subjects is, however, always artistic.

            Bedford contributes seventy photographs, inclusive of twenty-nine subjects taken expressly for the Association.  This collection includes some fine cathedral interiors, marked by the rich tones and the exquisite rendering of the lights and shades that characterize the productions of this artist in the treatment of such subjects.  The wrought-iron work and the Grinlin Gibbon’s wood carvings in St. Paul’s Cathedral present subjects of interest.   The Excavations at Wroxeter (227) arrests the attention of the archæologist.  Salisbury, Bristol, Wells, and Exeter have furnished ample material for Mr. Bedford’s camera.  The subjects taken for the Association comprise architectural details or general views of Rivaulx Abbey, Tintern Abbey, Whitby Abbey, York Cathedral, Fountain’s Abbey, Ripon Minster, Chepstow Castle, Raglan Castle, Carnarvon Castle, Conway Castle, Barfreston Church, and Canterbury Cathedral.

            Dollamore and Bullock exhibit subjects from Elym, Iffley, Cambridge, and Oxford—the most interesting being those of the interior and details of the New Museum at Oxford:  Nos. 328-9-30, show the fretwork of the elegant iron arches that support the roof of that building.  S. Thompson also exhibits some good representations of the same building, which has lately attracted so much attention; but we are surprised that in neither of these collections are to be found details of the capitals of the marble columns, which are sculptured with novel designs from Natural History subjects, by local artists, as these excited considerable interest among the visitors at the recent meeting of the British Association at Oxford.

            Captain Austin contributes some admirably-rendered Interiors of Can terbury Cathedral, quite worthy of a professional photographer.   

 Mr Church, jun., sends some interesting views of various parts of Glasgow Cathedral.  Irish Antiquities find their representor in Dr. Hemphill, The Round Tower at Cashel giving a good idea of those peculiar constructions.

 Mudd  gives perhaps the most picturesque treatment of an architectural subject in the exhibition.  Goodrich Castle (417) is, we think, one of the gems of the collection.  His subjects are from Lincoln, Roslyn, Linlithgow, Edinburgh, Fountains, Tintern, Raglan, Chepstow, and Worsley, Lancashire.

Frost contributes views of Beaulieu and Romsey Abbeys.

            Cocke confines himself to Exeter Cathedral.  Nos. 435 and 437 are the best by this excellent photographer; but the last view is somewhat marred by the Punch-and-Judy-looking “tent” putting in too prominent an appearance beneath the noble Porch of the Tower of  the Cathedral.

            The Terrace at Sir W.F.F. Middleton’s, by Cade, is a fine subject well treated, and taken expressly for the Association.

            Captain Dawson contributes some interesting views of Indian structures, amongst which we may specify The Pagodas and Horse Court at Seringham, and those of The Rocks at Trichinopoly (Nos. 463, 464, 465).  The Bridge over the Cauvery River (460), with its vista of arches across the broad stream, strikes one as a remarkable engineering work in such a country.

            Captain Henry Dixon contributes a numerous series of peculiar interest of the Rock-cut Caves of Orissa, and the curious structure of the Native Temples at the same place, together with two views of the great Temple of Juggernaut at Pooree.

            The entire collection presents numerous features of varied interest, whether the visitor be interested in archæology, architecture, and engineering works, or not, and is well worthy of a visit from those wishing to mark the progress of photography in its various applications.   –S.H. [Simeon Headsman?]

 

1861:  BJP Feb. 15, vol. VIII #136, p. viii:

            Ads:

            W. Woodward’s  Celebrated Midland Counties Printing Establishment. 

            The great demand W. Woodward has received for a superior class of Photographic Printing has obliged him greatly to extend this branch of his business.  He has therefore fitted up an Establishment furnished with every facility, and now begs to inform the Photographic Public that he is prepared to execute Orders to any extent.

            W.W. believes that his name is a sufficient guarantee that all prints leaving his hands will be found perfect.  His entire personal superintendence, his practical acquaintance with every branch of Photography, adopting only the new system of alkaline gold toning, new hypo fixing, and provisions for thorough washing, will combine to secure brilliant and permanent proofs.

            To Publishing Houses requiring large quantities, much advantage is given. 

            Long Row, Nottingham.

 

1861:  BJP Feb. 15, vol. VIII #136, p.65-66 :

            Stereographs.  Fountains Abbey, and the Beauties of Derbyshire, by Thomas Ogle, Preston.

            There are few spots more prolific in subjects for the photographer than that on which Fountains Abbey stands; indeed, this venerable ruin appears to be inexhaustible in affording “food for the camera” of a class peculiarly adapted for stereographic illustration.  It has been visited by several of our most eminent operators—Bedford, Fenton, Woodward, Ogle, and others; and when we fancy we have seen Fountains Abbey from every possible point of view, whether as a whole or in detail, we are astonished to find another and still another subject from it almost ad infinitum.  Haddon hall, in Derbyshire, possesses somewhat of the same protean character as regards aspect under different circumstances, and from different points of view, and we do not remember to have ever visited any other monument of antiquity with which we have been so much delighted; in fact, Derbyshire rests in our memory as one of the greenest of green spots—a locality where we obtained rest, recreation, and health, at a time when all three were much needed.

            We now proceed to notice particularly some of each series above indicated; and, first, we must draw attention to those illustrative of Fountains Abbey, amongst which, No. 195, The Cloisters, looking south, is a gem of the semi-interior species, in which the sunlight, streaming in from the partially-open side upon the floor, is reflected upwards and inwards, so as to display the pillars and arched roof in the soft-mellowed radiance that gives such an air of calm repose.

            No. 201, From the Chapter House, looking towards the Refectory, is an extremely picturesque “bit” for an ordinary picture, but doubly so as a stereoscopic subject.  The semicircular arched doorway, with part of the Refectory wall, is seen through a similar arch belonging to the Chapter House, itself adorned with a scanty wreath of ivy, not hiding but embellishing the crumbling stone mouldings.

            No. 191, Fountains Abbey from the West, is a beautiful slide, though its beauty consists not in the Abbey, of which an insignificant portion is seen from a pathway leading up to a wooded elevation in the grounds; but the charm exists in the beautiful combination of some noble trees, amongst which we can distinguish the beech and the sycamore, and through the branches of which the ruin is just perceptible.  Numerous scattered leaves bestrew the pathway, unmistakeably testifying of the autumnal season, even had we not been informed that it was taken at that period of the last very unpropitious year for photographers’ work.  It is a slide with which none can fail to be charmed.

            No. 192 The Tower from the West, is another most artistic production—a complete picture full of detail, half-tone, and atmosphere.  The tower is slightly veiled with the leafless branches of a couple of trees, around the stems of which a dense clothing of ivy is packed as if to shelter their aged bodies from the blasts of the quickly-coming winter’s winds.  The ground is undulating, and on the left a thicket of evergreens and deciduous shrubs still in tolerably full leaf is noticeable, and the roadway cutting through the grass in a graceful curve.  The atmospheric effect of this slide is truly beautiful.

            No. 207, Ancient Bridge over the River Skell, is the designation of another specimen illustrative of the glories of the vegetable kingdom; for the bridge, an uninteresting piece of brickwork, forms so minute a portion of the picture that, but for the name, it would stand every chance of being overlooked altogether.  A small portion of the river acts as a central light to the composition’ and from each of the banks the stately stems of many magnificent elm trees rise, their numerous branches quaintly and tortuously interlacing overhead; while the little lateral sprays, sparsely adorned with leaves after the manner of elms when lopped, bristle up the stems, and are here and there contrasted with the leaves of a stray bramble.

            No. 208, Near Fountains Abbey, is another charming study of foliage, or rather of woodland scenery.  It is in such subjects as the one before us that we sign most for the glories of colour.  Exquisite as it is, yet in the many-tinted foliage of autumn it must have been infinitely superior to anything that the photograph can record, and must have been gorgeous in its fast-fading hues.

            We now come to the Derbyshire beauties, amongst which are a series of eight, illustrative of Haddon Hall.  No. 173, from the North-West, is a view of the edifice as it is seen when approaching it from Bakewell, and is taken from the bank of the turbulent little river Wye, which winds and twists in its course like a writhing snake; but just at this spot the waters are smooth and tranquil as a mirror.  The entrance by which access is gained to the building is just hidden by the trees on the right hand.  It is only a side-door leading from near the stables to the domestic offices, amongst which, by the way, are included what were once the chaplain’s quarters.  On the left of the roadway an empty open carriage is standing, and, as a counterpoise, on the opposite side is the omnibus, in like condition, which brings the daily party from Buxton.

            No. 175 The Entrance Tower, shows the doorway that was noticed as hidden in the last-mentioned slide.

            Nos. 182 and 183 are both views taken from the west, which is the direction in which the Hall is seen by the visitor approaching from the Rowsley Station.

[PF illus]No. 174, Haddon Hall and the Remains of the Ancient  Bridge, from the West, is, however, the slide which gives the best general notion of the spot.  With a thickly-wooded background and natural sky, the Hall half hidden amongst the trees on the rising ground with the eagle tower standing out prominently, and a portion of the river in the foreground sweeping round a clump of bulrushes, it will be conceded that the elements of a very pretty landscape are existent.

            No. 180, the Terrace, and the flight of steps leading up to it, must of necessity b e the favourite.  Quaint and curious, telling of old-world habits, it is a perfect romance in itself.  Who that has any imagination can for a moment look on this flight of broad and shallow stone steps, flanked by the massive balustrade, without in fancy beholding the stately dame, with powdered hair and ample skirt stiff with brocade, ascending towards the cool avenue of yews by which the terrace is adorned?

            We possess another excellent illustration of this spot taken in the opposite direction by Mr. Hill, the treasure of the North London Photographic Association.

            No. 171, Peveril Castle, Near Castleton, apart from its value as a picture, must always possess an interest from the association of the subject delineated with one of Sir Walter Scott’s most popular works, Peveril of the Peak, this being the scene where a part of  the action is laid.  But independently of this association, the subject is a highly interesting one; but to those who have not seen it description will give a faint idea of it.

            Of The Lover’s Leap, Ashwood Dale, there are three charming slides (Nos. 164, 165 and 166), all excellent; but No. 165, that in which the little waterfall forms a prominent object, is our favourite.  Hemmed in by huge perpendicular rocks, adorned with graceful ferns, and blocked up by the large leaves of the coltsfoot, this little natural fall is as pretty in a miniature kind of way as some of the more imposing
Scotch falls.

            No.  159 is a View in the Serpentine Walks of the public gardens at Buxton.  These gardens are much frequented by the visitors to Buxton; in fact, they are one of the most prominent features of this favoured locality.  Natural beauties, aided by art so skillfully as to let all art be concealed, are here turned to the best account.  The gardens are situated on both banks of the river Wye, which though here but a small steam, has a propensity of winding about in all directions to an extraordinary degree; and, in addition to several trifling falls with which the gardens are favoured, this tortousity of the stream allows of the introduction of numerous ornamental rustic bridges.  Few who have visite4d the spot will be able to pass by this slide.

            The last which we have to notice is No. 162, representing another celebrity in the Buxton neighbourhood—the entrance to Poole’s Cavern—which is perhaps more interesting as a picture than in nature.

            The whole of the preceding series are executed with Mr. Ogle’s well-know skill, and printed in a manner to increase his already well-earned reputation.

 

1861:  BJP Feb. 15, vol. VIII #136, p. 66-67:

            On A Method of Producing Stereographs By Hand, by Prof. Ogden N. Rood

[Discusses literature on stereo drawings, including comments by some writers who thought they were not possible.  Rood then goes on to technical description of his technique.  Includes black and white illustration of a geometric figure by Rood.  The end of the article has been transcribed as it mentions bi-colored tinting and specific views and eventually mass printing.] 

…By colouring differently corresponding parts of two stereoscopic pictures, or by the application of colour to only one, the other being allowed to remain white or black, or by completing certain parts of the drawing only in one picture, many appearances connected with subjective optical phenomena can be represented with a degree of perfection unattainable in a single picture.

            Prof. H.W. Dove, (Farbenlehr, p. 166 [full biblio. ref. not given]) has studied the effects produced  by colouring two stereoscopic drawings differently, though I am not aware that he has made this application of the results he obtained.

            By slightly rotating the instrument around a line perpendicular to its axis, as was remarked to me by Prof. B. Silliman, Jr., many of these views are greatly enhanced.  The phenomena of complementary colours, and many other facts of physical optics not otherwise within the reach of most students, may also, as the same gentleman has suggested to me, be rendered intelligible by the stereoscope without the use of costly apparatus.  The stereoscope is thus capable, in the hands of an expert teacher, of a far wider range than was at first seen.

            At the suggestion of Dr. W. Gibbs I have also made a few stereoscopic drawings of crystal models:  these can be drawn by this instrument with perhaps greater facility and rapidity than any other class of objects.

            The accompanying stereoscopic diagram was drawn with my apparatus without reference to tables.

            Outline sketches of every description, stereoscopic drawings of ideal objects, or objects not in the possession of the draftsman, are by this process readily executed—problems evidently beyond the power of photography.

            Finally the drawings thus made can be transferred to wood and stone and reproduced by the thousand.

            Troy, Oct. 11, 1860.

 

1861:  BJP Feb. 15, vol. VIII #136, p. 67-68: GET MISSING WORDS, LAST PP.

            Exhibitions.  London Photographic Society’s Exhibition.  (Second Notice.)

            In our number for 15^th January we announced the opening of the Eighth Annual Exhibition of the London Photographic Society, and drew attention to the principal features which it presented, mentioning particularly some of the works possessing the greatest amount of merit.  We have paid several visits of inspections, and find no reason to change the opinions then expressed.  There are evident signs of unobstrusive, steady progress, it is true, but no striking advances to record; indeed, the wonder rather is, considering the very disheartening character of the past season, that there are not indications of a retrograde character.  It is probably owing to the unparalleled bad weather that there are so many of the old exhibitors totally unrepresented in this year’s collections.

            The portraits exhibited by M. Claudet, Messrs. Carrick, Lock, and Whitfield, and others, attract a considerable share of attention (particularly the coloured specimens) from the lady visitors.  There are many well-known faces to be recognised—amongst them, the late Lord Macaulay, Sir David Brewster, the Lord Chief Baron, Sir F. Pollock, Dr. Becker, Mr. P. le Never Foster, &c., &c.  But passing by these, with which we have but small concern, we will make the circuit of the room from west to east, making a note of such observations as occur to us during the passage.  On glancing through our note book, and comparing it with that which we took on the previous occasion for the same purpose, we are surprised to find how closely the two coincide, with one prominent exception—few or none of the works which were noticed before having escaped a second memorandum, and but few others having been added on the second occasion.

            We are first arrested by two capital pictures by Mr. Wardley (Nos. 314 and 315), which, though rather too grey in tone, are both excellent photographs, taken by the Taupenôt process.  The first-named, Castle Crag, Borrowdale, has been treated as regards the sky in the manner adopted by Mr. Mudd, and we must affirm that the additional excellence of effect imparted is well worthy of imitation.  The other subject is The Head of Windermere Lake.

            A Spanish subject, The Doorway of the Church of Santiago ( No. 309), by Messrs. Cundall and Downes, is very artistically rendered.  Mr. Gordon favours us with several subjects from the Isle of Wight.  He is a good photographer, but in nearly all of his contributions we think he has erred grievously in taking them upon such large plates, and on so large a scale as he has chosen.  The size, in our opinion, is a particularly unfortunate one—too large for an album, not large enough for suspending in a room.  It also has the disadvantage, as regards most of the subjects delineated, or not allowing the operator to get a sufficient distance from them to include all that it would have been desirable to have inserted, besides occasionally compelling the selection of a point of view inferior to what might have been chosen had smaller plates and a lens of shorter focus been used.  We make this observation being familiar with many of the spots illustrated.

            To the Panorama of Raglan Castle (No. 279), by Mr. F. C. Earl, we before directed attention.  It is, in our judgment, a very meritorious production, cleverly printed upon two pieces of paper, and more perfectly joined than we have ever before seen accomplished where more than one sheet has been required to be used for one subject.  The water in the moat surging round the angle of the edifice is very telling, and the angle itself is almost stereoscopic in its effect.  From a little carelessness in the mounting and framing, some of the perpendicular lines, which really are straight, appear to be crooked; and we notice the fact in order to save the reputation of the maker of the lens by which the picture was taken.

            A frame containing four subjects (No. 265) from Canterbury Cathedral, by Mr. S. Thompson, displays the evil effects of attempting to construct lenses possessing the quality falsely called depth of focus.  There is a total want of brilliancy and an indistinctness pervading the whole of these specimens which are certainly not the fault of the operator so much as of the tools he has employed.

            We next come to Derwentwater, looking towards Borrowdale (No. 264), by Mr. Roger Fenton—a work which we mentioned in our last notice as being somewhat in the style of Mr. Wilson.  We are, however, constrained to admit that, on a closer scrutiny, there are several defect s which become apparent, of a character to cause its position to be decidedly below that of Mr. Wilson’s productions in artistic value.  We have already stated that we found one important exception in the opinion derived from our former and our more-recent examination of this collection—it is that we discovered a considerable number of Mr. Fenton’s works that we had altogether passed over4, not having been sufficiently attracted to them to ascertain the name of their producer, and certainly not recognizing Mr. Fenton’s style therein.  They are altogether unworthy the reputation of so celebrated an artist.  But for the fruit and flower pieces, to which we adverted in our former notice, we should say Mr. Fenton was unrepresented:  these we still find as charming as before, despite the absence of colour, which we are fain to admit would much enhance their value.  By far the larger number of landscapes displayed this year by this photographic veteran are heavy, dull, flat-looking affairs; and even the few exceptions to this description are not crisp and vigorous as of yore, but partake of a dreamy character highly suggestive of unreality.  We fear much that Mr. Fenton has proved an inconstant swain—that he has transferred his affections from the camera to the rifle.  Let us hope, as we once heard a Frenchwoman phrase it—a little questionable as to the object—qu’il cera ramené a la vertu.

            Mr. Dixon Piper contributes, in No. 251, a Lane Scene, which, though a little hard, is picturesque and very suggestive.  His Study of Foliage (No. 155) is an exquisite “bit,” which we find noticed before.

            Mr. J. H. Morgan has not exhibited this year so many excellent pictures as usual.  They are scarcely equal to his former contributions either from an artistic or a manipulative point of view.  Those on the third screen, numbered 486 to 490, are amongst the best of them, and with one or two we have no fault to find.

            We now come to a mass of Mr. Heath’s productions, which, though not numbered consecutively in the catalogue, are in reality all collected together.  With these as a whole we are dissatisfied; yet Mr. Heath is entitled to no small amount of commendation.  The printing is excellent, the subjects generally good—some of them unusually so—and the treatment, that of one with an eye for artistic excellence; but there has been one influence at work that was unconquerable, and which, with a single exception, has more or less marred the whole  This malignant spirit is no other than that which the poet has called “rude Boreas;”  and certainly he has been decidedly uncivil during the exposure of Mr. Heath’s plates, which all more or less display the impress of his interference.  The exception alluded to does not apply to the absence of the malevolent interference, but to its success in spoiling the work—which, on the contrary, has probably gained by it, as it has induced the operator to present us with a beautiful subject in a beautiful setting, and which, in spite of the most perfect skill in vignetting, we much question whether the effect now given could have been attained but for the restlessness of the foliage when exposing the plates for taking the negative.  The subject of our remarks is the Gardener’s Cottage at Endsleigh (No. 230).  We are not attributing the beauty of this picture to “an accident;” but Mr. Heath has very cleverly taken advantage of an accidental disturbing cause to effect an object which without it would have been far more difficult, if not impossible.  In a few of his other plates he has carried the development of the negatives a little too far, thus introducing a snowiness of appearance into some of the high lights of the foliage.

            Raglan Castle must be in the same predicament that Punch some time back asserted was the case with H. R.H. the Prince Consert, viz., that there is no possible way left for him to have a portrait taken without repeating what has been done before.  There are numerous representations in the present exhibition of Raglan Castle, by several different operators; and, if we add to them those that have been displayed in former years, the total would be almost enough to fill the entire gallery.  Amongst those that have tried their hands upon it, Mr. F. Dunn is by no means one of the least successful—witness Nos. 197,201; and 2167, as promising much merit both manipulative and artistic; in fact, they are very charming pictures.

            M.M. Bisson Frères enjoy considerable reputation, and deservedly so, as photographers, and their Alpine Views are amongst their most popular productions.  No. 198, The Col du Géant, and (206) Vi_____ on the Alps, are well worth attention; but, excellent as they are, artistically considered, we have some doubt about their truthfulness for we do not well perceive how the skies can have really presented such an appearance as indicated by the photographs, except at midnight, when we fancy it would have been somewhat difficult to have taken the views.  Joking apart, here is a case in which veracity has been, to some extent, sacrificed to the picturesque, and we can not say unjustifiably so.

 

1861:  BJP Feb. 15, vol. VIII #136, p. 68-69  GET MISSING WORDS

            Exhibition of the Photographic Society of Scotland.

            My peripatetic habits and good fortune have again led me to the “land o’ cakes” at the right moment, and with a short span of time at my command to saunter about among the results of ______ much-loved art in canny Scotland.

            As I anticipated, there are notnearly so many productions this year as formerly; but we experimenters with the camera all know “the reason why.”  The past season was peculiarly unsuited _____ all out-door operations, and therefore I was prepared for an Exhibition of little else than portraits; but, to my surprise, they amount to less than a third of the whole.  One wall is almost entirely covered with pictures of paintings and engravings by Mr. Hering, of London.  They are beautiful to look at, but ______”the right thing in the right place” in a photographic exhibition.  They are, however, better than a naked wall.

            Instead of two there is only one screen this year, which greatly lessons the hanging space, but leaves sufficient for the pictures.  They are well arranged, and few will have cause of complaint against the committee on this occasion, as none can say their pictures are too high, requiring the visitor to mount a ladder to view them, as has been hinted on previous occasions.   

            On looking over the list of exhibitors’ names in the catalogue there is a sad lack of those of the local professional men.  Out of the list of twenty-seven firms, which I observe to be the number of photographers in the Edinburgh Directoy, only three have ____ pluck enough to mingle with the amateurs; and these bold _____ are Messrs. Tunny, Moffat and Dallas.

            Out of 160 members composing the Photographic Society of Scotland, there are only twenty-seven  exhibitors, embracing Great Britain—yea, even extending to Russia; for in that distant country the Society claims one of Scotia’s sons as belonging to its body.

            The entire exhibitors from all parts of the world are eighty-_____ in number, including X, Y, Z; and, notwithstanding the clan_____ of the nation, all that is Scottish in the Exhibition is but a _____ bagatelle, and that the production of amateurs.  A more appropriate designation for the Society would be “The Universal Photographers Society”

--dropping the nationality.  Be that as it may, we ______ now, if you please, inquire “who is who?”

            Messrs. Hay, M;Craw, Henderson, Taylor, Farmer, Rite______Truffit, Smith, Ross and Thomson, and last, but not least, our much-esteemed friend and confrère, Wilson, of Aberdeen, are to be found nowhere in the catalogue; so you need not wonder that the Exhibition is somewhat sparse, and the number of subjects comparatively limited.

            The principal contributors, in the order of the catalogue, are ____ Messrs. Claudet, 23 pictures (cartes de visites and portraits);  Dallas (Scottish), 23; Fenton, 30; Heath, 14; Hering, 57; Maxwell Lyte, 20; Lamb (Scottish), 21; Mudd, 18; Musgrave (Scottish), 15; Raven, 25; Tunny (Scottish), 21.  These twelve gentlemen contribute not much short of half the pictures in the Exhibition—in all 283 subjects.  They are highly deserving of our thanks; for, without them, Scotland would not be apparently able to provide the treat for us “southroon loons” (as they say in Aberdeen) when we happen to take a run down for a few days to our favourite “Auld Reekie.”

            The works exhibited by Maxwell Lyte are many of them exceedingly beautiful this season.  They are principally magnificent subjects, embracing fine broad, deep, fertile valleys, with lofty and distant congeries of precipitous mountains receding far away in the distance, and capped with snow.

            Vernon Heath exhibits fourteen very bright sunny pictures, all landscapes, artistically chosen, embracing several beautiful views of the mansion and the surrounding park scenery of an English gentleman, with a winding rivulet, and bosky glens on each side of the stream.  The farm-house standing on an eminence—the slope down to the meandering river sparsely spotted with umbrageous trees—the irregular fields, divided from each other by undulating hedge-rows—with gently rising ground receding far into the distance—form charming landscapes, which I observe some purchaser of taste has prevented going back to England; for if I am not mistaken they are all marked as “sold.”  They are toned and finished very much after the manner of H. White’s wheat –fields that used to be admired so much in former years—an artist whose name, like many others, is this year absent altogether.

            Mr. Mudd has some very similar subjects to that which gained for him the prize in the previous Exhibition.  They are smaller in dimensions, but composed of the same elements.  However, I think he is behind Maxwell Lyte on this occasion; but I speak generally, not having had sufficient time to examine them with that minute care which would enable me to form a decided judgment on the respective works, and I am therefore only giving you the salient, outstanding points as they happened to strike me on a first visit to the Exhibition.  I shall endeavour to repeat my visit and note down some further particulars for your Journal when I can find an opportunity of addressing you at some other stage of my journey.

            Mr. Lamb, of Aberdeen, is a large contributor this year, and I hope to have something favourable to say of his productions, for his and Fenton’s (which are also numerous) will be sufficient to occupy another visit.

            Mr. Raven, as usual, comes out strong in the wax-paper process; but he is fairly distanced in his own walk by a brother clergyman—the Rev. R. H. Whiterby—who contributes four subjects.  Trinity College, Glenalmond (No. 11), is very fine in its chiaroscuro, being a lofty bank of trees, in gorgeous foliage, surmounted by a noble pile of building—the light and shade being spread over it in sweet perfection.  I have seen nothing else so good from wax-paper.

            A striking contrast to those of Mr. Witherby are two pictures (Nos. 304 and 305) by W. Walker, both landscapes, and both also by the wax-paper process.  I think, if memory serves me right, I have seen something very superior to these from Mr. Walter’s portfolio before.  These two are remarkably poor.  In one of them is a piece of water, which might be very well represented by the head of a cask of beer in active ferment, working off the barm!  That is exactly the ide3a it calls up to my mind.  It is true, the season was very untoward; and some photographers allege that there ought to be a hospital for the wounded and diseased, and that failures often teach more than undeviating success.

            I have just had my attention called to an article on the Exhibition in the Edinburgh Scotsman, in which there are some remarks about Mr. H. Robinson’s Holiday in the Woods with which I cannot agree.  The editor must have been in one of his reveries about the “Cardross case” or the “Edinburgh Annuity Tax” when he passed that manuscript to the printer’s devil.  You will no doubt have seen the article (which has been copied by one of your contemporaries), therefore judge for yourself.  Thus remarks the Scotsman:-- (Rejlander’s) “admirable cartoon of the Two Ways of Life, which, besides containing some thirty figures, grouped artistically, was embellished with a landscape background.  Excellent as that work was, it wanted the vitality and sentiment with which Mr. Robinson has imbued the present compositions, and which constitute them works of intellect.”  Alas, alas!  The writer must have “greatly dined” when his critical eye viewed the two productions, for they are “as water is to wince,” and will not bear comparison for a single moment.  I am far from seeking to detract from Mr. Robinson’s artistic productions in that direction.  They are very praiseworthy, and if he has not yet proved entirely successful, he deserves to be, and I hope eventually will be so.

            There is a large number of cartes de visites, by Mayall (whose case is the poorest exhibited), Tunny, Moffat, &c.; some very interesting specimens of enamel on glass, by Joubert; microphotographs, by Bryson; and a host of stereoscopic slides, by Moffat, Walker, Wilson (exhibited by Waterston), Bryson, Orange, Davies, &c.

            I have now given you a somewhat general outline of the contents of the present Exhibition, and must here bring my remarks to a close.  If time and business permit, I will endeavour to jot down a few more notes for your next number.  Sel D’or

 

1861:  BJP March 1, vol. VIII, #137, p. 92-93:  sum up rest on p. 93

            Photographic Society of Scotland.

            The ordinary monthly meeting of this Society was held in George Street Hall, on the evening of Tuesday, the 12^th ult.  The chair was occupied by Sir David Brewster, President of the Society.

            The minutes of last meeting having been read,

            Mr. Robert Armstrong was admitted a member of the Society, after which the Chairman read a paper On Photographic and Stereoscopic Portraiture. (See page 87 [not transcribed]).  Sir David’s address was listened to with marked attention.

            Mr. Horatio Ross said he was sure it must have given them all pleasure to have listened to the able paper just read by their President.  The subject was one of the most important to which the attention of the photographer had been directed.  Everything which Sir David Brewster stated in connexion with optics they must all accept as facts; but as practical photographers they knew the extreme difficulty which they experienced (with their present knowledge of chemistry) in using lenses with very small apertures:  the time occupied in taking a picture with them was so great that no human being could reasonably be expected to remain in a state of absolute repose for such a time as would allow of getting a tolerably correct picture.  He feared that the advantages to be gained in portraiture by using such small lenses would be more than counterbalanced by the difficulty of getting a person to sit for some minutes without moving         

Sir David Brewster, in reply, stated that the time required for taking a portrait by one of these small lenses was not so great as Mr. Ross supposed.  He himself had more than once had his portrait taken with a small lens:  the time of sitting on one occasion was sixty seconds, and on another fifty seconds.

Mr. Walker attested to the excellence of the portraits now alluded to, which he had seen.

Mr. Tunny said that from several experiments he was more and more convinced of the soundness of Sir David’s theory.  In order to produce the best results, he used a small stop between the lenses of his portrait combination.

Sir David Brewster said there would be no practical difficulty were photographers only to try it.

Horatio Ross, Esq., then proceeded to the

            Award of the Prizes for the Best Pictures in the Exhibition.

            The Council of the Society having a second time done me the honour of requesting me to award the medals for the best portrait and landscape in the Exhibition, I felt that they could not pass on me a higher compliment; but I cannot say the duty was a pleasant one, for although it was in my power to confer happiness upon two individuals, yet there were many who, doubtless, would feel disappointed, as it is one of the consequences of our art that every one thinks his own pictures the best.  I myself have often, after having produced a good picture, said—“Well, there is nothing which can beat that;” but on seeing the same picture hanging among others in the Exhibition I have, by comparison with them, observed deficiencies, and have gone away with the determination of producing something still better.  Now, I believe this is a general feeling among all photographers.  If we were to be disheartened because our pictures were not equal to others, it is evident that progress would never be made.

            In this Exhibition there are a number of really good pictures, and many exhibitors may fairly think themselves entitled to gain the medal, which is the only public honour a photographer can gain.  I believe other societies give medals, but they are limited to the competition of the members:  our medals are open to the whole world, and I hope they will always continue to be so.

            Having accepted the office of judge, I have done my best to discharge the duty properly, and have spared neither time nor trouble in making myself acquainted with the pictures.  I began with landscapes, and had great difficulty in coming to a decision, for we have in this Exhibition a vast number of most excellent landscapes.  After going over them repeatedly, both by gaslight and daylight, I found pictures by Maxwell Lyte, Fenton, Mudd, An nan, Dixon Piper, and another gentleman who makes his appearance in our Exhibition for the first time, Mr. Vernon Heath.  These pictures were so nearly balanced in merit, that it was really a toss up to say which was best.  I consulted some friends with a view to learn which picture was, in their estimation, the best, determined to pay every deference to such opinions; but although they were all agreed that the artists I have named had sent the best landscapes, they differed as to which was the best picture.  I had, therefore, to be guided exclusively by my own judgment in the matter, and I have accordingly fixed upon No. 106, A View in the Pyrenees, by Mr. Maxwell Lyte, as the landscape entitled to the medal.  I beg to remind you, gentlemen, that he has been a large contributor to our Exhibition for the last three years, and it was a matter of great doubt whether or not he was to get the medal both last year and the year before.  If instead of awarding the medal to the best picture, it was to the person who had sent in the best lot of pictures, he would have got it every year.

            With regard to the medal awarded for the best portrait, there was again for that a very keen competition.  We have admirable portraits from Tunny, Moffat, and Orange; still, on looking them all voer very carefully, I thought that the portraits sent by Claudet were, on the whole, better.  Here again I experienced some difficulty in determining to which of his pictures the prize should be awarded, but have now fixed on No. 67, a Portrait of A Lady.

            No Scottish artist has as yet gained the medal, but that is a proof we are very impartial in our awards.  I know that there will be no feeling of jealousy against M. Claudet, for he is at once the oldest of photographers, and we are indebted to him for a great many improvements in photography, especially in daguerreotyping.  One thing I venture to point out to all who are in the habit of taking portraits, and I am sure M. Claudet will not find fault with me for betraying some of the secrets of his studio.  If you look at his portraits you will find that he preserves the purity of his whites in a very remarkable manner.  Look, for instance, at his Portrait of a Lady, with a black velvet jacket, and a considerable deal of white muslin about her dress, and you see how perfectly he has rendered this difficult subject, both in its highest lights and deepest shades.  To do this he makes use of two large screens, and all the time the process is going on he is shading those parts of the sitter which are apt to develop too quickly.  By

these means he is enabled to produce such beautiful contrasts in his pictures.  I feel confident that all photographers will agree with me that M. Claudet has well earned the “blue ribbon” of our order.

            Before I conclude I wish to direct attention to a very remarkable picture in the exhibition, a most beautiful specimen of what is a new and novel way of applying photography.  Mr. Rejlander was the first to adopt the plan of producing pictures from three or four negatives, and of this class is the picture to which I allude.  It is by Mr. Robinson, the winner of last year’s medal, and is entitled A Holiday in the Woods.  I had only two medals to award; to Mr. Lyte I gave one, and to M. Claudet I gave the other; but I take the liberty of directing the attention of the Council to that picture of Mr. Robinson’s, and I think it is well worth the consideration of the Council whether they should not award to him a bronze medal as a mark of their approbation.  In skilful hands this method of printing may be the means of producing admirable results.

            SUMMARIZE REST

 

 

1861:  BJP March 15, vol. VIII, #138, p. 103-104:   COPY page 103 & get full ref.

 

….pictures he degraded to the lowest position.  This would obviously be unfair.  While I cannot but admit the productions of Turner or Cox to be the result of a most intimate knowledge of the mechanical means at their command, combined with an aptitude for converting that knowledge to its proper and natural use, I cannot overlook the fact that the study required by the observer to fully comprehend the subject matter of the picture more than compensates the subject matter of the picture more than compensates for the extra labour or outlay of mechanical means that would have been required to render its intention more clearly expressive.  In the pre-Raffaelite school the opposite extreme has been adopted, and I believe no man can look upon the wonderful manipulation of most of that class of paintings without regretting that so much valuable time has been wasted by the artist that might have been turned to better account.  In this particular photography will ultimately take the place of painting.

            I have here a stereograph of a bit of Nature, Ferns and Blackberry Brambles.  No doubt Millais would not think such a gem beneath his pencil, though the time required to perfect by the means at the artist’s disposal a finished picture of this bit of Nature would form an insuperable bar to its application.  But the artist-photographer, provided with his camera and prepared plate, may perform in a few seconds what to the artist would be a labour of months.   And how much more correctly!  Colour only would be wanting; and in this, the most important item, photography is at fault.  While we can render the chiraroscuro of Nature—and the artist-photographer must pay more attention to his lights and shades than the artist of the pencil is necessitated to do, as upon them and not upon the colour the effects of photography depend—still I am not without hope that we may, by a more careful analysis of the photographic power of colour, chemically applied, remove this difficulty aqnd place photography in a still higher position than it has yet aspired to.

            I have also a set of stereographs—Views upon the Avon—taken during the recent frost by one of our members, Mr. Burr, which, although literal photography only in its lowest form, still shows that the appreciative powers of the artist have been employed, not only in the selection of the views themselves, but in the application of the art to copy the eccentricities of Nature therein displayed, as a memento of a scene which, for poetical beauty, has seldom been equaled.  They also exhibit the superior powers of the artist-photographer over the artist.  Had the latter wished to depict the sublimity of the scene, he would have utterly failed from the amount of time required to perfect—even were such perfection possible in human hands—a transcript of the view before him; but the former, by a simple movement of the cap of the lens, so as to expose for a few seconds his prepared film to the photogenic influence, receives an impression perfect in all its details, and still more perfect when viewed stereoscopically.

            I am therefore disposed to class these productions among those of art-photography; but would with all deference throw out the hint, not only to the operator in this but in other cases, that when the poetical sublimity of Nature is aimed at it would be well to dispense with the introduction of figures, which generally appear to be posed for that particular operation, and, to the educated eye of the artist, mar the effect.

            I have described Art as being a faithful transcript of Nature.  This faithfulness in photography has hitherto been unattainable, from the variation of the photogenic powers  of the different colours composing a landscape or other natural object operating so variously upon the chemicals employed; and it is in this particular that I think the works of the composition-photographers—if I may use the term “copmposition”—have been underrated.  With all the chemical and mechanical means at his disposal, the artist-photographer has not been able to avail himself of the evanescent forms of Beauty to the extent he would wish to have done.  While some important object in the landscape or view, to which he has directed his camera, may require several seconds—for I will speak of an instantaneous process—to impress itself in all its detail upon the film, other parts are considerably overdone.  And the sky!  Would that artist-photographers could, like the artist, not perhaps select their sky, but be allowed to suit a sky to the requirements of their picture!—if sky in most photographic pictures be an essential (which I have yet to be convinced of):  or what should be the sky, a complete blot.  I maintain—and I think justly—that the artist-photographer, having met with a scene, and a sky which, in his judgment, is suited to that scene (and such is seldom to be met with), would be fully justified in translating the cloud or sky, as it might be, to one plate and the landscape to another.  The evanescent beauties of the one might be preserved intact, and a better opportunity would be afforded to obtain detail of the view.  Mr. Hughes states that landscapes may be taken with their natural sky—granted, in some not in all cases—and he gives the fact that Mr. Kibble, of Glasgow, has succeeded in taking an enormously large picture with the sky and water and a steam vessel all perfect, and on a dry plate.  He quotes this as showing that the hopes of obtaining natural skies are by no means desperate.  But I ask is such a picture—Art?  I say it is mechanical photography, neither more nor less.  It may be that the feeling of the artist has been displayed in availing himself of the precise moment when sky, water, and vessel were artistically arranged; but such is farther removed from Art than the composition-photographers’ works Mr. Hughes alludes to.

            Again, Mr. Hughes cannot undertake to say that the natural sky is at all times that best suited to the picture.   From some peculiarity of tone in the distance, the foreground, or the principal object in the view, operating upon the chemically-prepared film in a manner far differently to the photographic effect upon the visual organ of the artist, a want of harmony would be produced; and, unless the artist-photographer has been educated to a due appreciation of the photogenic effects of colour upon the chemicals he is generally in the habit of using, it is almost impossible, unless in rare instances, for him to produce upon a single plate the natural harmony of the scene.

            I would, with Mr. Hughes, if possible, dispense with “composition-printing;” but at present such is a necessity, and, therefore, a legitimate vehicle for expressing the artist’s conception of Beauty.

            But, not only does the art of photography require further culture—whether in in (sic) its optical, chemical, or mechanical departments—we must, to render photography an art, educate our operators to their profession.  A photographer may take a portrait or a view which shall exhibit a large amount of artistic feeling on his part; but, if he had received an artistic education—if he had studied the chiaroscuro of nature apart from photography—I maintain, with Rejlander and others, that he could not produce a picture wanting in artistic feeling.  But, while he applies all his energies to art, he must not forget science.  However artistic a man may be, he will often be foiled by apparent failures which might have been overcome had he been “up” in his chemistry or optics; but in these matters I am infringing upon the position of men better qualified than myself to give explanation.

            Mr. Wilson, of Aberdeen, in a letter to one of the journals, “states his conviction that vision is a photographic operation, and that before we can see an object, it is necessary that it should be photographed in colours upon the retina.  The optic nerve may be very sensitive, but not so sensitive as to feel a mere shadow.”  I have long indulged in a similar belief, as explained to the members of this Society in connexion (sic) with an impression I have, that we may so educate our vision as to reclothe the rays from a practically colourless photograph as they strike the retina with many, if not all, the pristine colours of the view or object represented.  I have not in the limits of this paper an opportunity to explain my reasons; but I feel satisfied such a result can be, and is often, partially attained, whether from the force of contrast, variety in depth of tone, or other cause.  Colour blindness has been clearly demonstrated, and the loss of such a perception would justify my belief in the theory.

            I am happy that our Society numbers a Rejlander, a Robinson, and a Norris—and united with us, also, a Hardwich; and I hope every member will use unwearied exertion to maintain the Society in the proud position it occupies in having such men connected with, and I may say working members of, it.

 

1861:  BJP March 15, vol. VIII #138, p. 106-107:

            Stereographs.  Abbeys, Castles, and Cathedrals of Great Britain.  (Illustrated by W. Woodward, Nottingham) [and T. Ogle]

            On turning over the series before us, the first picture we come to is identical with that first noticed in our issue for 15^th February [by Thomas Ogle]of the present year, as regards the subject, and taken nearly from the same point of view.  We allude to The Cloisters at Fountains Abbey, No. 204; but, as we have so recently described the scene, it is unnecessary to repeat it.  We may, however, remark that Mr. Woodward’s negative was taken by the collodio-albumen process, and we are informed that this subject being very dark entailed the lengthened exposure of one hour.  We are somewhat surprised to find that, contrary to what might have been expected, the outlines of the shadows are sharp and distinct in spite of the change of 15˚ in direction which of course they must have undergone.

            Mr. Woodward has made more pilgrimages than one to Fountains Abbey, and it will probably be in the recollection of some of our readers that we have noticed in previous volumes some of his productions from this locality.  We find that here and there he has issued a second edition of a former subject, and generally an improved one, notwithstanding the very unfavourable weather during the past season:  in a few instances, though rare ones, he has had the worst of the contest.  Amongst the improved editions of the Fountains Abbey illustrations is No. 198, The North Aisle, looking East.  Of the new ones there are two nearly identical, both numbered 201, and entitled Bridge Over the River Skell.  Both of them are excellent illustrations of a picturesque subject, and the position of the camera appears to have been altered after taking one negative, but to a very small extent; yet it has not been done without material improvement—that containing a trifle more of the subject towards the right of the operator being in our judgment considerably the best.  We know not whether or no this is the same bridge which figured in one of Mr. Ogle’s series:  it is by no means improbable, although there is not the slightest resemblance between Mr. Woodward’s and Mr. Ogle’s illustrations, except in name.  In the latter the bridge formed but a very insignificant item in the “theme:” in the former it is a prominent object, and the water is beautifully transparent, while the banks of the river, bridge, trees, ruins, bushes, &c., receding from the observer in successive planes, one behind another, cause this to be an effective slide as well as a highly pleasing picture.  There is one little fault in this as in some others of Mr. Woodward’s otherwise excellent productions, and it is one for which we have before had a quarrel in a quiet way:  he will use a single instead of a bi-lens camera, and it is consequently impossible always to prevent this being perceived by slight difference in the illumination of the members of the pair of pictures, though Mr. Woodward frequently manages it cleverly.

            No. 199, View From a Window in the Cloisters, Fountains Abbey, is a very charming subject, whether for the stereoscope or a larger picture:  the disjointed portions of the ruined walls appear to be literally crushed under the luxuriant mantle of ivy, while a grove of fine trees forms a fitting background.

            No. 175 Bolton Abbey, from the South-West, is taken from an admirably-selected point of view, and the pair of noble old trees in the foreground, leafless as they are, add materially to the artistic value of the subject.

            There are two pictures from Easby Abbey, the negatives of which were exposed during the rain as we are informed, though, beyond the absence of sunshine, they exhibit no symptoms whereby we could have inferred this extra difficulty in operating.  No. 181 is a View from the Churchyard, and No. 182 A Peep Through the Refectory Window, and a very pleasant peep it is we must admit.

            Of Rivalux Abbey we have three different views in the Choir—all excellent.  No. 192, The West of the Choir Side, looking South, is perhaps the most pleasing as a picture, owing to its containing more variety of incidents than the others, and being more broken up in detail; but, when viewed in the stereoscope, No. 193, The Choir Looking South, from the Inside, is particularly charming, the row of columns and arches on the left being adorned with the chequered light from the corresponding openings on the opposite side.  We may safely predict an extensive demand for these beautiful specimens.

            Tintern Abbey has long been known as a favourite resort to the artist, and of late years to his brother of the camera.  In some few of the numerous illustrations of the locality now before us, we do not think that Mr. Woodward has attained to his usual standard of excellence—no doubt owing to his having been afflicted with the malefic influence of continuously bad weather—while in others he has been particularly felicitous.

            No. 220, South Aisle, looking West, and 217, The Nave, looking East, are both charming semi-interiors.  No. 218, The Nave, looking West, is only a little inferior; but 219 is a trifle too chalky in appearance.

            There are three of the slides presenting a general view of the abbey; and of these we prefer No. 207, View from the Chapel Hill.  There is, however, an absence of sunshine, which would materially have improved the landscape; and the high wooded hills in the background present rather too hard and cutting a line against the sky, that is destructive of atmospheric effect.  In No. 210, View from the South-east, the distant hills are beautifully mellowed down; but a tree on the left in the foreground is far too dark, and the foliage having been in motion is indistinct and unsatisfactory.  The abbey itself, also, is a little too “dreamy” for a photographer, so that we fancy a rather large aperture was employed for the lens when taking this picture.

            No. 211, The South Transept, and 212, The West End, are both extremely well-executed specimens of Mr. Woodward’s work, the last-named being almost identical in subject with a large proof by Mr. Bedford, which formed the presentation photograph of the North London Photographic Association last year.

            Amongst the illustrations of Lichfield Cathedral there are three that merit especial notice, viz., Nos. 234, 236, and 237, being all representation of The West Front or portions thereof.  In No. 236 the whole front is included with the exception of the top-most portion of the spires, and the effect of the rich gothic style is well displayed.  No. 235 is a somewhat nearer view, and of course includes but a smaller portion of the subject executed on the larger scale:  it enables the observer to examine closely and particularly the five-and-twenty figures occupying the series of arched compartments extending entirely across the front.  No. 237 is specially devoted to the magnificent West Door, rich in carving and chaste in design, the subject being similar to one delineated by Mr. Bourne on a larger scale, and which is to be seen at the Photographic Society’s Exhibition, now open in Pall Mall.  Our architectural friends must not omit procuring these.

            Raglan Castle has found so many worshippers that we had come to the conclusion that it would be impossible to present it from any new point of view, but we are mistaken.  No. 226, A View from the Walls, we have not before seen; nor yet 225, View in Fountain Court—both of which are pleasing studies.  In the latter the blossom on the elder-tree fixes unmistakeably the period of the year when the picture was taken.  No. 223, View from the Moat, though perhaps the most picturesque, ahs suffered a little from slight over-development of the negative:  the transparency of the water which is in shadow is beautifully retained, but the leaves of the ivy on the stem of the tree to the left are rather chalky.  This is a favourite view with most operators.

            Henry Martin’s Tower, Chepstow Castle, No. 230, is one of last yhear’s successful achievements, and is a pleasing subject.

            There are two capital slides of Helmsley Castle:--No.l 184, The Gateway and Barbican; and No. 185, View from the Inner Moat.  It is evident that both of these were taken in the early spring time of the year, for the buds on the trees are just beginning to burst into leaf.  In the latter the young leaves of the elm on the left contrast beautifully with the tufts formed by the half-opened ends of the ash on the right; and through a vista between the branches the upper part of the tower of the castle forms a fitting central point, around which a very charming composition is grouped.  The execution is perhaps a trifle harder than might have been desired; but, if not faultless, the picture is still an excellent one.

            In conclusion, we must express our gratification at finding that the season, so trying to all photographers, has not proved altogether barren of results to Mr. Woodward; and we cannot but entertain the conviction that, should the forthcoming season be only equal to the average of former years, he will add fresh laurels to those already earned.

 

1861:  BJP March 15, vol. VIII #138, p. 108-109:

Exhibitions.  London Photographic Society’s Exhibition.  (Final Notice)

Of the whole class of reproductions of which the present collection affords numerous examples, we have but little to say, beyond the statement that they are generally well executed.  Highly valuable as this application of photography undoubtedly is it is [sic] chiefly, if not entirely, mere mechanical skill that is required to ensure success.  In evidence of the accuracy of this assertion we have but to point to the fact that, wherever a photographic copy of an engraving or drawing in mjonochrome is made, the reproduction is so perfect that, in some cases, it is difficult to distinguish between the original and the copy; but when paintings or water-colour drawings are operated upon, although the forms are accurately repeated, the effect is frequently unsatisfactory, owing to the difficulty of properly translating the influence of colour into hues of black, white, and grey—in the former case, a collodion giving hard, dense pictures alone being required; in the latter, one capable of giving half-tone is imperative.  But more than this, to copy a painting well, so as to convey a pretty close impression of its language, requires for its successful practice considerable chemical and scientific skill, many of the difficulties being conquerable by the judicious use of certain chemicals, combined with management of the light by which the pictures are illuminated.  Now, if we refer to the copies of paintings in the present collection, we find that most of them are sadly deficient in the quality of conveying the poetry of the originals—some to a much greater extent than others, even by the same operator.  We are therefore convinced that there is far more of the work of the hand than of the brain employed in this branch of the art.

We now approach a corner rich in fine specimens.  There are two Views in Warwickshire (Nos. 175 and 170), by Josiah Spode, that are exceedingly effective in execution and highly meritorious.  Here, also, are half-a-dozen of Mr. Mudd’s beautiful proofs from collodio-albumen negatives.  In Watsdale Head. (No. 169), Watsdale (182), and Teesdale (183), the method adopted by this operator for avoiding the hardness arising from painting out a weak sky is well displayed, and it must be admitted that it adds materially to the value of the proofs as pictures—which, by the way, are deserving of almost any amount of labour to obtain.  We must also add a word or two of commendation for the excellence of the printing.

Of Mr. Fenton’s studies of Fruit and Flowers we have already spoken in laudatory terms; there are many of them at this end of the room which, no doubt, attract a large share of attention.  It is true that to acquire all possible beauty they do require the application of colour.  We remember to have seen some specimens of flowers, on a smaller scale, that had been well tinted, exhibited at one of the meetings of the North London Photographic Association, and are convinced from what we then saw that a profitable field is open in this direction to any artist having the requisite skill, as such productions, well got up, would meet with eager purchasers.

Mr. Robinson’s Holiday in the Wood (No. 136), we notice, in passing, attracts much admiration.  Mr. Dixon Piper’s Lock Gates, near Ipswich (No. 121), is a striking picture and well executed, but is a little deficient in vigour.

            In the corner corresponding to that previously remarked upon, we encounter another “next” of Mr. Mudd;s productions, quite equal to those before mentioned,--Study of Rocks, Perthshire (No. 99), On Greta, Rokeby Park (No. 103), and Goodrich Castle (No. 104), being especial gems.

            To the few maligners of the Fothergill process we would suggest a careful examination of No. 91 (a frame containing four subjects), by Mr. S. Bourne, of Nottingham, particularly defining Loch Lubnaig and the West Entrance of Lichfield Cathedral, as evincing what excellent results can be attained by it.

            The Rev. T.M. Raven appears principally, if not entirely, as an operator upon waxed paper; and good as his proofs are, considering the nature of the negatives, we are constrained to admit that they prove unquestionably the superiority of glass as a basis.

            Dovizielli’s reproduction of Guido’s Aurora (No. 40) elicits the the [sic] highest applause for it successful rendering of the original.  The same artist’s large photographs of The Coliseum (No.l 30) and St. Peter’s, Rome (No. 52), are not, in our opinion, by any means so satisfactory.  Both are too black and white, and the shadows heavy.  The few trees visible might as well have been cut out of black paper; and there is such unmistakeable evidences of a free use of the brush upon the negatives that, regarded simply as photographs, they would be out of court for competition.  The St. Peter’s, too, is disfigured by considerable distortion and by the ghosts of vehicles and foot passengers.

            One extraordinary feature of this year’s exhibition is the amazing number of card-portraits as they are called.  Of course there are but few of these which possess any particular public interest, while with regard to some we cannot but conclude that the exhibitor would have enhanced his reputation by reducing the number displayed to one-half, or, in some cases, one-third of those contained in the frames.  But, while commenting on this class of production, we must altogether except those of Her Majesty and the members of the Royal Family, exhibited by Mr. Mayall, which, in point of execution as well as of interest, are unrivalled by any in the room.  We are afraid to state how many thousands of these portraits have already been sold by Mr. Mayall, lest we should be charged with exaggeration; but we may remark that the number is so great that alone it affords no inconsiderable evidence of the affectionate loyalty existing towards our Sovereign by her subjects.

            In interiors and other architectural subjects Mr. Bedford distances all competitors.  Chantry in the Nave of Wells Cathedral (No. 417), and View in the Ladye Chapel, Wells Cathedral (No. 448), are first-rate samples of interiors; and The North Porch of Wells Cathedral and South-west Door of Exeter Cathedral (No. 442), corresponding ones of exteriors.  It is on the third screen that Mr. Bedford appears in strongest force; but his pictures are all so excellent it would occupy more space than we can now afford to particularize all we have specially noted.  We must therefore be content with asserting that in the present collection Mr. Bedford’s works form decidedly the most prominent feature, and are one and all unexceptionable.

            In our former notice we remarked upon Mr. David Campbell’s contributions as possessing superior excellence.  Home!  Sweet Home! (No. 427), The Auld Brig o’Doon (No. 433), and Cranfordland Castle (No. 453), are all artistic studies.

            Mr. Robinson’s Top of the Hill (No. 466) is a well-designed subject, though he has not been quite so happy in his model as could have been desired.  Unless we mistake this is one of the pictures that we commented upon in the recent controversy upon printing from several negatives.

            Mr. J. Reeves Traer is the only exhibitor of microscopic subjects—four only of which are included, and these are unfortunately placed very high up on the screen.  Of these the Xyocopa violacea (No. 511), an acarus parasite of a bee, is the most interesting.  Few persons are aware of the difficulty of photographing microscopic objects, requiring objectives of high power and large angular aperture for their definition.  In addition to all the ordinary troubles there are superadded variation of chemical and visual foci, and severe restriction of definition to one fixed plane in the object; so that if the latter be of any appreciable thickness it cannot even be seen without focusing up and down with the fine adjustment—in which case of course to photograph it would become an impossibility.

            Mr. Wilson’s gems we have already noticed, and have also alluded to Mr. J. Maxwell Lyte’s artistic pictures; but these last in particular, forced upon our attention the great necessity existing for endeavouring to overcome the chemical difficulty of the impaired sensitiveness of the sensitive film to the green rays.  Mr. Lyte’s pictures all suffer more or less from the darkness of the foliage as appearing in the photograph.

            With this we must bring our remarks to a close, so far as the exhibition for the present year is concerned.

 

1861:  BJP March 15, vol. VIII #138, p. 109-110:

            Exhibition of the Photographic Society of Scotland.  From Another Point of View.

            It is, we think, pretty generally admitted by all who have visited this Exhibition, that although inferior to the one of last year in point of the number of pictures exhibited, it is superior to it in artistic excellence.  The room is large, comfortable, and well lighted both by night and by day; and from a more judicious arrangement of the pictures—consequent, however, on their reduction in numbers this year—less inconvenience is experienced than formerly.

            There is but little in this Exhibition that will present much interest to the merely scientific photographer; for, with the exception of two or three of Joubert’s specimens in enamel, there is nothing displaying any scientific novelty.  We have looked in vain in the hope of finding some specimens of photographic or heliographic engraving.  Equally unsuccessful have we been in our search for photo-lithographs.  Herr Pretsch’s new and valuable discovery of blocks for surface-printing seems to be ignored.  Not a solitary specimen of carbon or other “pigmentary” prints is there to be seen; nay, even the poor old daguerreotype process has not had one exponent, and the once-favoured albumen process musters only some one or two bantlings.  The collodio-albumen process finds a representative in only one man; but, that man is a host in himself, and has done more to elevate this process than any other man.

            The majority of the pictures are by wet collodion, a few by dry, and the remainder (about fifty) by waxed paper.

            The Society under whose auspices this (their fifth) Exhibition is held is, numerically at any rate, very poorly represented; for, out of a list of 160 members, only thirty are exhibitors—the total number of exhibitors being eighty.  Among the fifty who are not members rank the well-known names of Muss, Maxwell Lyte, Dixon Piper, Fenton, Mayall, Bedford, Vernon Heath, Annan, Hering, Frith, and others.  It has created some surprise that out of the great number of professional photographers in Edinburgh, Tunny, Moffat, Macleay, and Armstrong have alone entered the arena.

            With these few prefactory remarks, we will now take a look at the pictures themselves, commencing with those to which Mr. Horatio Ross has awarded the prize medals, and the other works of the same artists.  No. 106 in the catalogue is a beautifully-rendered view of the Valley of Pierrefuttes, in the Pyrenees, a subject admirably adapted for an effective photograph.  It will be in the recollection of most of the readers of The British Journal of Photography that the prize picture by Mr. Raven, two years ago, was a representation of the same subject; but from what cause soever it may arise, whether from advances in the art generally, or from the superior capabilities of collodion over waxed paper for rendering such sharpness and admirable gradation as characterises this picture of Mr. Lyte’s, certain it is that the superiority of the one over the other is marked.  A village in the foreground, a plain in the middle distance, with magnificent mountain masses in the extreme distance, hemming all in , form the chief features of this picture.  The effect, we think, is a little marred by the overprinting of the left side of the picture; and the same failing characterises several otherwise beautiful works by this artist—for instance, 281, in which the sloping braes on the left are rendered of pitchy blackness, 292 and 296 partaking of similar faults.  Now this, we doubt not, arises from the great difficulty of rendering, with the requisite efficiency, distant, and, it may be, snowy mountains, and at the same time doing justice to the objects in the foreground; but it would be well worth while adopting some plan of screening the “distances” a little, while the foreground was getting more thoroughly impressed.  Mr. Maxwell Lyte, lucky man! has an advantage which few in this country possesses—he has easy access to some of the most magnificent scenery under heaven.

            Turn we now to No. 67, the other prize picture—A Portrait of a Lady, in a white dress, by M. Claudet.  The size of this picture is thirteen inches by ten.  The subject is a full-length portrait of a lady arrayed in something akin to a bridal dress.  With all deference to Mr. Ross’s judgment, we are inclined to the opinion that this is not by any means the best of Claudet’s pictures; for although the size is great, and the posing graceful, there is considerable want of detail in the upper part of the dress, and the hands and face, by contrast, look dark.  We quite admit the difficulty of taking such a subject perfectly; but a man of M. Claudet’s vast resources should be able to overcome all difficulties, and render in perfection whatever he undertakes.  It is, however, a very excellent picture, but not in our opinion equal to another lady, by the same artist, this one (533) being a black velvet jacket.  We much question if among all Claudet’s pictures there is one which can excel 543, a portrait of Mr. Horatio Rosa, who in this portrait is depicted in the dress of a captain of volunteers.  Claudet exhibits altogether about two dozen pictures.

            So much has been written about A Holiday in the Woods (65), a composition picture, by Robinson, (size, twenty-two inches by sixteen), that we deem it unnecessary to make further allusion to it here, than to say that, on the recommendation of  Mr. Ross, the Council of the Society has awarded it a bronze medal.  In our opinion it has a cut-out sort of appearance, which we do not like.  Possibly our taste may become so improved (?) as to like this sort of thing by-and-by.  There is another picture of this sort by the same artist—The Top of the Hill—which we think preferable to his great work.

            Among the productions of Scotch artists, those by T. Annan,. Of Glasgow, must occupy a prominent part.  He exhibits about fifteen pictures, most of which are large, well defined, and of beautiful tone.  Without entering into the merits of his pictures individually, we may be allowed to point out 280, Inversnaid Waterfall, as a picture of great beauty and force.

            Mr. Horatio Ross shows five pictures, the subjects being Dead Game.—No member of the Society has the same facilities for producing this class of pictures, and his arrangement of the dead deer, &c., is marked by the artistic excellence which usually characterises this gentleman’s works.  Were he to employ a lens having greater depth of focus, or make use of a smaller stop in his present one, his pictures would be still better.

            Mr. Finlay Anderson sends four views from waxed-paper negatives.  Although his points of view (especially 139, Village of West Kilbride) are very carefully selected, yet the granularity and general hardness of these pictures induce us to advise him to lose no time in adopting some important modification either in the process itself or in his manner of manipulation.  A few months ago Mr. Anderson brought before the Society the importance of keeping the “sky line” much lower than was usually done.  In his Farmhouse, Elie—and Bungalow, Madras (Nos. 140 and 141), this doctrine is illustrated rather too freely.  We have, however, no objection at all to an excess of sky, provided there are a few clouds to disturb the unbroken monotony of pure white paper.  We would advise Mr. Anderson to try collodion in lieu of the waxed paper.

            A.Y. Herries exhibits fifteen pictures, all by waxed paper.  His pictures are uniformly good, some of them being particularly so.  Chief among this latter we might point out 243, St. Brelad’s Church and Bay, Jersey.  We may state that a great number of the scenes depicted by this artist are in Jersey and Guernsey, and form as good specimens of the capabilities of waxed paper as any we have seen in this exhibition.

            Mr. Rimmer sends two portions of views of Roslin Chapel (Nos. 275 and 401).  They are clear and well defined, but are taken with a lens which has been quite inadequate to the task imposed on it, as his parallels show signs of circular convergence, which, in an architectural subject like the present, is very faulty.

            It is with decided feelings of disappointment that we turn this year to Mr. Raven’s pictures.  He sends twenty-five, most of which, were they not recorded as such in the catalogue, we never could have dreamt of as being his productions.  Waldringfield Church (No. 267), although in good focus, is a singularly inartistic picture.  We particularly mention this picture, because some critic has, in a local paper, awarded it the chief place among the works of Mr. Raven in this exhibition.

            Mr. W. Scott Elliott exhibits fifteen pictures—some by collodion and some by waxed paper.  Among this gentleman’s contributions like many others, there are some pretty good pictures, and others not so good.  Of his case of four pictures (No. 336 et seq.), The Old Bridge of Earn (338) is the best, and, when viewed from the proper distance, is perhaps the best one in his contribution.  No. 335, The Village of Kintillo, is a very unfavourable specimen of this artist’s productions, owing to its patchy hardness.

            Mr. Rodger, of St. Andrew’s, sends nine pictures, and we shall dismiss them with a few words.  While, on the whole, he does not this year come up to himself, he still has one or two which are perfect gems.  There is a brilliancy and exquisite sharpness in the details of his portraits that we look for in vain even in the prize portrait.  One of this artist’s productions, Master Coates (No. 539), we have no hesitation in saying, is the most pleasing portrait in the exhibition.  It is a portrait of a little boy, five or six years of age, on an easy chair; and the rendering of this subject is faultless.  We are glad, for the credit of old Scotland, that it has been placed in justaposition with another boy, by Claudet.  Claudet’s boy is good, but Rodger’s is exquisite.   Aur. Chl.

 

1861:  BJP April 1, vol. VIII #139, p. 127-128: [see also p. 156]

            Stereographs.  Scenes and Scenery in Java.—Negretti & Zambra, London.

            We apprehend that there are but few persons who would be disposed to question the correctness of the assertion that one of the chief advantages of the stereoscope is its power of making the stay-at-home intimately acquainted with the scenery in foreign lands.  Even the most inveterate rover, who has the requisite time, means, and energy at command, cannot visit every place: so that all may on some occasions profit by the labours of the skilful photographer.  Messrs. Negretti and Zambra have recently published a most valuable and interesting series of illustrations of a locality comparatively but little known—thus adding another leaf to the many laurels already won by this very enterprising photographic firm.  For exquisite delicacy of detail and beauty of effect it cannot be denied that proofs upon glass far surpass those upon paper, though they possess also some drawbacks, amongst which their much greater liability to injury and greater cost are not the least.

            Until we had seen the series now before us we had never been able to realise so vividly the actual appearance of tropical scenery.  Accurate drawings may go far towards imparting some notion, and ordinary photographs still more; but, for bringing the thing itself before the eyes of the of the beholder, commend us to well-executed stereographs upon glass plates.

            How pleasant it is to remain quietly in one’s easy chair and explore the intricacies of a fine Forest of Cocoa Palms, at Solo (No. 13)!  How strange to one accustomed only to European scenery!  The tall naked stems, permitting the eye to penetrate far into the recesses of the forest; while the quaint-looking tufts of large pinnate leaves on the top, like huge bunches of green feathers, throw a welcome shade beneath.  Another group of Cocoa Nut Trees, at Solo (No. 14), is very artistic in composition, the light and shade being well balanced; and the graceful curves of the luxuriant leaves have their value enhanced by the rigid angularity of the huts beneath their shade.  Still more strange and picturesque is the slide No. 17, representing a Native Hut, Djockja Karta, in which trees of a more familiar style of foliage mingle and contrast with the majestic cocoa palms; while the hut itself appears constructed for the express object alone of securing shade and coolness at the smallest possible expenditure of means, being formed chiefly with a roof of a kind of thatch on walls of matting.  The Campong Prawen, Buitenzorg, is a more pretentious series of residences, dotted about the broken ground in much admired disorder.

            A Group of Tropical Fruit, disposed à la Lance, contains a mixture of the strange and the familiar to a West Indian eye.  The bread-nut, the mammee apple, the bunch of cocoa nuts, the sugar apple, the pine, the melon, and huge bunch of luscious bananas, are easily to be recognised; but they are commingled with about an equal number of kinds as strange as they are curious in appearance.

            The Travellers’ Tree is a very singular specimen of local vegetation, resembling a huge fan, the leaves being arranged symmetrically, very like the little implement with which a Spanish beauty does so much execution, only that the blades, instead of overlapping one another, are arranged edgewise, each leaf, when turned a quarter of a revolution, presenting the appearance of a torn leaf on a very long footstalk.

            A View from Batœ Toclis (No. 31) is a marvel of photographic skill, embracing as it does an enormous extent of distance, the furthest hills being some twenty miles off; while the long windings of a shallow river, meandering around the clumps of palm trees, and widening into a species of lagoon by a village in the middle distance, and a tall bank, covered with some kind of brushwood, in the foreground, unite to form a subject not a little trying to render satisfactorily by photography.  There has evidently been one point in the operator’s favour, and that no trifling one—an atmosphere of a purity almost unexampled in our own misty land; but, notwithstanding the beautiful clearness of the whole, there is no want of aerial perspective, the whole composition being pervaded with a charming atmospheric effect.  This slide will certainly command many admirers.  No. 32, another view in the same locality, is also particularly well executed.

            Amongst the most instructive slides we must not omit to mention a Rice Plantation, which appears to be located on a sort of irregular plane at the base of a valley, on the borders of a stream which serves to irrigate the land, for nearly the whole of the “plantation” is under water.  What we presume we must, in courtesy, term “fields,” are in fact a series of irregular ponds, more or less of a rectangular form, divided from one another by a narrow strip of land, serving apparently the double purpose of a footpath and a hedge.  The blades of young rice are just showing above the water; and in the middle foreground is a raised bank about six feet higher than the general level, and probably fifteen to twenty feet wide, also divided into compartments filled with water and growing rice.  The figure of a man, clad in white, standing with his back to the spectator, appears to be superintending some agricultural operation.  The background consists of the wooded slope of a hill, and the view on either side is limited to masses of foliage.  This slide presents a very novel appearance to those accustomed only to European cultivation.

            As an appropriate sequel we have No. 37, Valley and Paddy Fields, Karampandang, the latter stretching far away up the slope in regular steps.  Irrespective of its interest, as exhibiting scenery of an unfamiliar character, it possesses much artistic  beauty.

            A very pleasing one for the last mentioned quality is No. 12, labeled Plantation Grove, Golo, which we fancy is miscopied for Plantain Grove, seeing that a goodly number of these palms order the sinuous little stream in the centre.  Mixed with the plantains are many other trees and shrubs of various kinds, some with exceedingly delicate foliage; and these, combined with the sluggish little stream before mentioned, are composed into a very exquisite picture.

            No. 21 Sunset, is a fine study of clouds, with the mist rising amongst the trees of a dense wood.

            We now come to some slides illustrative of Javanese customs; and one of the most valuable of the series is No. 26, representing a Concert under the shade of the Warringhim Tree, Passorocan.  This slide possesses the highest interest.  The tree named is itself a vegetable wonder, and the grouping of the musicians picturesque; while the instruments upon which they are performing are of a class quite unknown to Europeans, many of them being large, not unlike elaborately-carved sofas in appearance, while at the back of the group are suspended a huge drum and corresponding couple of gongs, and a series of hollow vessels in graduated sized, somewhat resembling in form and size immense carboys.

            As a companion to the preceding we notice A Theatrical Performance or Wayang, which, like the concert, is taking place out of doors.  In addition to the performers, some of whom are seated on stools, a portion of a very numerous audience is seen in the background, all sitting cross-legged on the ground.  Of the figures seated on the stools nearly every one has adopted the same attitude, the legs being stretched wide apart, and the arms extended in a similar manner, with the hands resting on the knees—the whole figure thus presenting a somewhat grotesque resemblance to an arm chair.  This slide will well repay long and careful examination.

            No. 40. Javanese Actors, contains the portraits of two of the principal performers mentioned in the preceding.  In a companion slide we have portraits of four of The Dancing Girls of the Sultan, decked in all their finery, not set off by crinoline.

            No. 43 is a Native Girl at Her Lace Work, an illustration which will serve better than volumes of written description to give an idea of the female inhabitants of Java.  The walls of the apartment in which this young lady is sweated consist of matting, having a kind of damask pattern, and strengthened by light wooden supports.  The furniture consists of a broom, an umbrella, a kind of chafing-dish, and a very rudely-constructed low chair, on which the girl is seated, in a half recumbent posture:  before her is stretched the lace on which she is working, thrown across a kind of clothes-horse.

            The girl herself deserves some description, being, we believe, a young Javanese beauty.  Her expression is mild, and by no means deficient of intelligence:  the hair is drawn all off the forehead, and combed straight back, much in the same style as that adopted by some of the young ladies in our own land; but, in the case before us, rolled into a knot at the back of the head, instead of being confined in a net.  The garments consist of a species of scarf, wound around the trunk, to form a boddice, leaving the arms, neck, and upper part of the bosom bare, and a large shawl wound round the lower part of the figure forms the skirt.  Of shoes and stockings she has none; but instead of the former a pair of clumsy wooden clogs, which, while sitting, she has cast aside.  She appears to be well formed, plump, and with limbs nicely rounded.  Although she has quite attained to the maturity of womanhood, we understand that her age is but a little over thirteen years.

            We have taken this description partly from the slide we have just noticed and partly from another, in which she is seated at an open window, through which a very beautiful view of Javanese scenery is obtained.

            This last is very cleverly managed,  being a sort of tour de force, and one that would not answer in a commercial point of view, the figure being printed upon the front glass and the landscape on the back one, the corresponding portions from each having been carefully removed.

            The whole of these slides are printed upon albumenized glass by direct contact in the pressure-frame, and we have been informed by Mr. Negretti that the negatives from which they were printed having been taken upon collodion, a serious impediment has thus been interposed to the production of what he regards as first-rate results; because it is almost impossible to obtain a sufficiently close contact between the negative and plate on which the impression is to be taken without tearing up portions of the collodion film.  Mr. Negretti strongly advocates the employment of simple albumenized glass for negatives, and considers that any extra trouble involved in using them is more than compensated by the increased value of the negatives, both in an artistic and commercial point of view.

 

1861:  BJP April 1, vol. VIII #139, p. 130-131:

            Palestine in 1860; or, A Photographer’s Journal of a Visit to Jerusalem.  By John Cramb.  No. IV.

            The conclusion of the last article left me enjoying myself in Malta, with a promise that I should leave the following day for the Holy Land.  I did leave Malta on the 2^nd of May, in the Borysthene, one of the best of the French mail steamers, bound for Jaffa, calling on the way at Alexandria.  As I have mentioned before, I do not enjoy the sea, my readers would most likely still less enjoy a description of my voyage.  A fast steamer would make the harbour of Alexandria from Malta in three days:  The French Company’s time bills allow four days; and I believe they generally require that time.  The Borysthene left Valetta on Wednesday afternoon, and with her sailing qualities she could have made Alexandria easily on Saturday evening, if there had been anything like “pluck” in her officers.  As it was, we just got in sight of the city of the Ptolemies when too late to get a pilot, as Arab pilots restrict their hours of labour to the rising and setting of the sun.  The French make poor sailors.  The officers are still and formal, looking every one the impersonation of red-tapism while the “before-the-mast” part of the crew are a sad set of lubbers –mean, slavish-looking fellows, with a miserable physique compared without own brave, weather-beaten, but manly-looking “Jack.”  Sunday morning, with early dawn, we were steaming into the harbour of Alexandria, and I would soon be landed on (to me) a new quarter of the globe.  I was only likely to spend six-and-thirty hours in the land of Egypt at this time.  Grand theme though!  Capital opportunity for becoming poetical, historical, or more easily rhapsodical!  As I intend returning by Alexandria, my readers will, I presume, be quite willing I should defer my performance in these departments of literary industry till then.

            The steamer lay at anchor in an immense harbour capable of containing thousands of such vessels, and we were landed by boats—the owners of myriads of them hurrying about among the passengers soliciting custom to their boat in every European language, with Arabic, and I know not what added, to make up the Babel.  Mr. Dragoman knew the place and its customs: so, tamely submitting myself to him, I soon found myself seated at the breakfast table of the Hotel de l’Europe.

            Alexandria looks quite as motley as its inhabitants undoubtedly are.  It is in every respect an aggregation of very various elements.  Architecturally it is generally very low.  There is a large square of place, as the French would call it, and which the Pasha has much improved this summer.  The hotel we were for the time domiciled in is in this place, and around it there are numerous public hotels, and the residences of the various consuls and eminent merchants, &c.,--all high Parisian-looking buildings.  Indeed, except a very fine church in this same square, in connexion with the Anglican Church, everything in Alexandria above the merest hovels have a French aspect.  Generally it is a very dirty, mean-looking city indeed.  The streets are narrow and crooked.  There are few remains of antiquity.  My commission did not require me to photography anything in Egypt at all—at least till I had done Palestine—so I had nothing to do but see the “sights,” like any other Jones, Brown, or Robinson.  Sunday was a sirocco day.  Those who have been in the East know what that means.  What a boiling heat! What an overpowering, depressing influence hangs over the strongest-nerved on such a day!  It would have been impossible to photograph the nearest objects, there was such a dense cloud of sand floating in the air.  The buildings on the opposite side of the square were just barely visible.  I was Scotch enough to hunt up a place where I could hear a Scotch sermon.  Good, earnest man, the minister had not a large congregation, and I doubt if two of them were of the same nationality.

            Everybody that visits Alexandria must see Pompey’s Pillar and Cleopatra’s Needle, and make the acquaintance of the Egyptian donkey-boy and his “very good donkey.”  I had no wish to be exceptionable; so early on Monday morning I left the hotel with the “very good donkey-boy” as my guide.  Cleopatra’s Needle I found to be situated in what seemed a builder’s yard.  I felt more interested in the fine view of Alexandria to be got from a point near it than in the Needle itself.  My readers know as much as I do, perhaps, about this remarkable monolith.  There is the other Needle, too—the English one.  It is here in the same place, just below the Cleopatra one—quite or very nearly covered with sand.  We looked for it but could see nothing, till our guide pointed to a hole in the sand, when, on close inspection, we saw it, with characters engraved on it similar to those on the one standing erect; but I could form no idea of the dimensions or entireness of our Needle.  Why does not some enterprising M.P., in want of a theme for his eloquence, take up this, and compel the existing government, or any future government that may be formed, to take it up too, and have this interesting relic of antiquity brought to Old England, that Cockneydom may boast of as old and as wonderful an obelisk as that which adorns the gay and beautiful Place de la Concorde, with the satisfaction—a great matter to an Englishman—that it was rather more honestly come by than that of our Gallic neighbours?

            Pompey’s Pillar looks very like its pictures—more than can be said of many such Old-World remains; and the stream pointed out as the Nile showed no peculiarity which one could lay hold of or remember, being more like a canal than a river; but the same might be said of many English rivers. 

            The country around Alexandria looked well.  The palm tree is common, and grows luxuriantly.  One sees it everywhere.  While I was in Alexandria there were several smart showers.  I remembered having heard that romancist [sic] lecturer and traveler, J. Silk Buckingham, expatriate to a great length on the dryness of Egypt.  Some of my readers may have heard his story of the Pasha who could not be made to understand what rain was, as he had never seen anything like it.  The amusing lecturer added that, after he had done his best to convey to his regal pupil a comprehension of what rain was, the Pasha, to show how well he had taken up his instructions, ahd a pail of water poured over the head of Mr. Buckingham, adding, as it was being done, “that is rain!”  Well, the story showed how familiar Silk Buckingham was with a Pascha [sic]; but beyond that it was a grave “sell.”

            There has always been rain at times in Alexandria; and within the last ten years it has been frequent all the year over, and in winter much rain falls.  In Upper Egypt there is less: in Cairo there is rain occasionally.  The change is accounted for by the more general cultivation of the ground.  My informant, who is well able to give an opinion, believes there will, in a few years, be as much rain as we have in many parts of Europe, or as much as they want, at any rate.  It is the same in Syria; but of this again.

            A day and a-half beings us from Alexandria to Jaffa, where we are to disembark for Jerusalem.

            Jaffa (Yaffa the Arabs call it) is the biblical Joppa, where Jonah embarked on his unlucky voyage to Tarshish, and where Simon the Tanner lived, on whose housetop the Apostle Peter saw the vision of clean and unclean beasts and creeping things, and heard the voice saying, “Rise, Peter; kill and eat.”

            Jaffa is the most usual place of landing for Jerusalem.  It is the nearest port, if port it can be called, for there is no natural harbour, and nature has been left quite unassisted; the consequence is, that more boats are upset here than all along the coast put together, and no steamer can attempt to land passengers but in smooth water.  The contract with passengers is something like this:--If the weather be very fine we will lie off Jaffa, and allow you to trust yourself and goods to the tender mercies of the rocks and waves and your Arab boatmen.

            On this occasion the weather was just sufficiently propitious to allow us this privilege; and it certainly is a rather nervous affair to land in such circumstances—to me peculiarly so.  Everyone of my valuable boxes required to be carried from the steamer into the boat on the back of a rough fellow, who could never comprehend a tithe of the harm done if he too roughly jolted one of my boxes of glass.  Or, worst of all, thought I, what if he drop one—perhaps the one with the camera—into the sea!  To the credit of the Arab boatmen I must say they did their duty nobly.  My traps were all safely deposited in the boat with a celerity quite unaccountable; and they showed more pluck and skill than I could have thought them capable of in rowing us through the narrow passage among the rocks which lay between us and the town.

            Every pilgrim as he sets foot for the first time on a land every inch of which is rendered sacred by the holiest associations of which our nature is capable has, no doubt, his own peculiar sensation.  To many it is the realization of a life’s aim.  The dim unformed wish of childhood—the dream of youth—and the settled purpose of manhood—is then fulfilled.  I was rudely awakened from my reverie by a very present hard reality.  My foreign office passport demanded for me, in Her Majesty’s name, free passage—not so for my baggage though.  I was in the hands of the Turkish custom-house officials.  I had thought I knew something of the horrors of a custom-house examination, but this exceeded all my previous experiences:--boxes all opened, and their contents inspected—not once, but five or six times over.  Could not pass.  What did they want?  The fact was, they did not know themselves.  They wanted to rob me, and did not know how much to ask, in order to do so.  Only after getting the aid of the cawass of the British Consul did I learn what was the demand of Turkey.  Quite absurd, of course.  They valued my chargeable goods at twenty times their real value; and, after an hour’s talking, which I did not understand, they took the duty on the real value.  By this time the Governor of Jaffa had come on the scene, and I was expected to go through the ceremony of taking coffee with him.  I refused at first, on the ground that I could not drink coffee without sugar, but forgot to add, and milk.  He soon had my sugar objection remedied, and I had no choice but drink the (to me) nauseous cup, which many praise highly.  Tastes differ!  It may be that mine is vitiated.

            The Turks seem to live for the doing of two things—smoking and drinking coffee.  I can do neither as they do it.

            There are two hotels in Jaffa; but the reader, in order to form any idea of what they are like, must dismiss from his mind all his previous associations connected with the word hotel.  I chose the one kept by a Jew; and, as I will have other opportunities of describing the Syrian dwellings, I will leave my Jaffa inn now, further than that it was quite as comfortable as I expected.  Comfortable dwellings are not difficult to get in a country where sleeping in the open air is a luxury, and rain and wind and shade are the things men pray for.

            I felt glad I was now about to begin my work in earnest, and that if any troubles might annoy me I should have the solace of my camera ever at hand.  For how completely does the enthusiastic photographer forget all life’s ills as he hurries along in his every-interesting preparations, or in his more absorbing consummatory labours, as he watches the mimic representations slowly or quickly developing before him!  It is a theme worthy of some unborn laureate to tell of the albeit not unalloyed but transcendest [sic] joys of the sun-drawn picture-maker!

 

1861:  BJP April 1, vol. VIII # 139, p. 135:

            Liverpool Photographic Club.

            On Thursday, the 7^th instant, the members of the above Club met at the house of Dr. Cauty.  The meeting was one of considerable interest.

            Among the specimens exhibited by the host were a number of interesting stereographs by the dry processes, a quantity of brilliant proofs from Mr. Bedford’s best subjects, and a stereoscopic camera, of excellent design and workmanship, with transfer-box, of perfect construction, by Messrs. Newton, of Liverpool.

            Mr. W.G. Helsby exhibited a number of most interesting photographs of South American scenery, produced by his brother on a yacht voyage along the West Coast.  Among them may be specially noticed a View of Valparaiso, taking in the Bay and shipping at anchor; The ex-Governor’s House (Juan Fernandez), a mountain scene of wild grandeur; Robinson Carusoe’s Cave; and several picturesque views of the silver mines in Chili.  The whole, comprising upwards of twenty subjects, are handsomely bound in the form of an album, for presentation to the friends of the spirited proprietor of the yacht. The work reflects great credit on the photographers, Messrs. Helsby and Co., Valparaiso.

            The conversation having been directed to the cause of the cracking of the films of varnished collodion negatives, a member suggested a plan by which the evil could be entirely obviated.  After thoroughly washing the fixed negative, and draining for a minute, he pours over a solution of gum Arabic, draining, drying, and varnishing in the usual manner.

 

1861:  BJP April 15, vol. VIII #140, p. 145-146:

            Stereographs.  Scottish Lake Scenery, illustrated by George Wilson Aberdeen.

            Many of our readers will, doubtless, remember the emotion of delightful surprise with which they first beheld the beautiful addition to our art-treasures, produced by Mr. Wilson about a year and a-half ago, in the form of a series of sunset effects on the Loch of Park, in Aberdeenshire, and which were first noticed and described in our columns.  During the last season—that of 1860, inclement as it was, and disheartening in the highest degree to the professional photographer—this gentleman pursued his avocation with unwearied diligence, and in spite of all impediments secured a goodly collection of new triumphs of his skill.  It is true that, from his peculiar mode of operating, he is exempt from some of the troubles which beset ordinary photographers; for he laughs to scorn the puny efforts of wind and waves, clouds and vapours, to elude his powerful grasp, so that he gives us Nature in all her lovely aspects:  now with the waters dancing in the laughing sunshine—then the rough hill-side, half shrouded in the clinging mist, like tears on the cheek of the aged pilgrim—at another time the angry clouds frown over the grand but dark abyss—again we are hurried to the fierce active life of the crowded thoroughfare—and end by lingering in the calm shades of evening, over some soft landscape that has a charm like the gentle smile of an innocent child as it sinks into slumber.

            In giving some account of the exquisite specimens now before us, we will endeavour to be as brief as justice to our subjects will permit.—In the first place we will mention a second series of views from the Loch of Park, Aberdeenshire, all produced by an ”instantaneous” exposure, revealing all the passing charms of cloud and ripple, with other incidental adjuncts. –In No. 278, Wild-Duck Shooting, besides a splendid sky reflected in the placid water of the lake, the smoke from the sportsman’s gun (who, standing up in the boat, has just fired) possesses all the rich transparency of nature, veiling, and only just veiling, the distant shore.  –In No. 284,
Evening, the sun has set behind a dense mass of clouds in the horizon, but still lights up some of a more fleecy character in the zenith, while the water is now calm and level as a mirror, the surface only broken by a few protruding rushes and a solitary boat.—Akin to the last-named is No. 280, Twilight; and, though in this the shadows are so long, and definition of the landscape consequently so obscure, that a mere commonplace photographer would despise the composition, yet, in so doing, he would only expose his ignorance and want of discrimination; for, despite its admitted deficiency, it is a perfect gem of art, displaying perhaps as fine a sky and aerial perspective as ever was delineated.

            No. 279, Pike Fishing, with some fine effects of sky and ripple, presents also a trifle of the grotesque in the comical attitude of the fisherman.—Of the remaining sun-lighted views, Nos. 281 and 282 deserve especial notice—the former with the great luminary of day nearly hidden by clouds, the latter with it shining in full effulgence, and adorning the water with a streak of gold.

            Of sweet Loch Katrine we have some very charming illustrations; and foremost amongst them we must place No. 9, which, for perfection of composition and calmness of repose, is not surpassable.  It is veritably a perfect picture, and is the same subject to which we accorded high commendation amongst those displayed by Mr. Wilson at the Photographic Exhibition, recently closed in Pall Mall, London.  It is very beautiful.—No. 30, another part of the lake, not very distant from the preceding, is also a fine composition.  A clump of birch trees on the near bank fills the whole of the foreground, and indeed forms three-fourths of the whole subject.  Through the branches of the trees, across a narrow portion of the lake, the steamer at the landing-place is just discernible on the right; while on the left a thatched boat-house may be noticed behind the point of a rough stone quay, and the wooded precipitous mountain-side makes an appropriate background.

            Loch Katrine from Ben Venue (No. 65) is another magnificent piece of Scotch scenery very unlike the two preceding, and comprising a view of some miles in extent.  The waters winding amongst the rugged, rocky mountains, clothed in patches with luxuriant ferns and fragrant heather, are charming in their seeming caprice.  The following lines recur to our mind while gazing on this pleasant scene:--

                        “We have left the world behind,

                        We have lost the beaten track,

                        And the hum of the city upon the wind

                        We have only to guide us back.

 

                        “In the wood where the hyacinths grow,

                        And the earth is as blue as the sky,

                        We wander to-day till the sun sinks low,

                        And the rosy shadows die.”

            Loch Katrine and Ben Venue from the Dale of the White Horse (No. 26) is a scene of another character, and again we must have recourse to the poet for its description:--

                        “Like dreary prison walls.

                        The stern grey mountains rise,

                        Until their topmost crags

                        Touch the far gloomy skies:

                        One steep and narrow path

                        Winds up the mountain’s crest,

                        And from the valley leads

                        Out to the golden West.”

            In the next slide we have another view of Ben Venue from Loch Achray (No. 59)—another charming composition.  A wooded islet in the centre of the calm lake, with old Ben in the background, are both seen through a vista in the spreading branches of a sturdy oak tree, which act as a graceful frame to the composition.

            The Pass of the Trossachs (No. 21) is particularly interesting from the variety of the foliage everywhere discernible in the wooded part of the pass.  The numerous fir-trees are pleasantly contrasted with the birch, the tall graceful fronds of the ferns, and the crisp leaves of the holly on either bank of the shallow brook; and the bare sides of the high mountain in the background act as an agreeable foil to the vegetation.

            Glencoe is rich in affording subjects of a peculiarly grand and solemn class, and Mr. Wilson has been busy amongst them.  In several of them some very picturesque effects have been secured by taking advantage of moments when the curious clinging misty vapours, so prevalent in mountainous districts, have come creeping down the various gorges and passes between the taller peaks.

                        “See! Down the mountain side

                        The silver vapours creep,

                        They hide the rocky cliffs—

                        They hide the craggy steep—

                        They hide the narrow path

                        That comes across the hill—”

            In No. 154.—Glencoe from above Clachaig—there is a broken band, as it were, of mist, a few hundred feet from the top of the mountain, and there are no less than four specimens (No. 272) all of the same spot, but differing in the amount and forms of the ever-shifting vapours.  These are all charming; but perhaps the most so is that one where a couple of sheep have strayed into the immediate foreground of the subject.

            Nos. 153 and 157, both Views in Glencoe, are admirable illustrations of the locality; and the last-named one is especially picturesque, with its very broken rocky masses, the top of the mountain just tipped with light vapour, and the chasm in the foreground moistened with the soft spray from the “falls” of a little mountain stream.

            Those who are making collections of geological illustrations, as well as all those who are connoisseurs of the picturesque, must not fail to secure copies of The Falls of Bracklin, near Callander, Perthshire; for ]anything more truly beautiful it would be difficult to imagine—in addition to which the peculiar rectangular cleavage of the rocks imparts all the appearance of massive but ancient masonry “with verdure clad.”

            Nos. 63 and 64 are both very remarkable.  In the former the rounded sides of distant hills in the background leave a small vista towards the sky, broken by a solitary tree:  in the foreground the stream gently tumbles over the natural gigantic steps, having worn a deeper passage by its ceaseless tread, while the huge blocks of stone are thickly strewed with lichens and crowned with shrubs.—No. 64 is a composition that would afford a welcome study for a painter:  it is one absolutely perfect of its kind, and is probably taken from a spot not far distant from the preceding.  The same stream is tumbling over similar natural steps, clothed with lichens and ferns and bushes; branches also of the ash, and the alder, and holly are mingled here and there, and the whole is viewed through a magnificent framework composed of the boughs of a luxuriant oak tree.  This is a gem of the first water.

            No. 25 is another of the same tribe—Bracklin Bridge—a little wooden footway, with a railing perched high up over the top of the chasm, while the rock is split and rent into the semblance of a massive castellated stronghold of ancient days, with the same stream as before slipping down more steps, and various trees nestled in snug nooks and crannies in the rock, as if they had selected comfortable quarters to protect themselves from the rude blast to be expected in those elevated regions.

            We must, for want of space, bring our remarks to a close—a matter we always find it difficult to do when gloating over the works of such an artist as Mr. Wilson, to whom we are indebted for many a pleasant hour.  While such works as these continue to be produced there is no fear of any decline in the popularity of the stereoscope, as view them when we will they are always a source of fresh gratification.

 

1861:  BJP April 15, vol. VIII #140, p. 146-147:

            Palestine in 1860; or, A Photographer’s Journal of a Visit to Jerusalem.  By John  Cramb.  No. V. 

            Jaffa—Lydda—Ramleh—Kirjath Jearim—Arrival at Jerusalem.

            Jaffa, as it now stands, contains about 5,000 inhabitants, a fifth part of whom are Christians.  The entire city is enclosed by a strong wall, and has but one gate through which all the traffic inland must pass.  The streets are very crooked and dirty, and cannot be said to be paved at all.  Smooth round stones are laid down here and there, sometimes so close as to form a kind of causeway, but which at best are very uncomfortable to walk over.  The city is built on an eminence, which gives it a very find appearance from whatever side it is viewed, though the country is nearly level all around.  From the house-tops in the higher parts of the city a very extensive and beautiful view is obtained of the lovely plain of Sharon on the one side and of the Mediterranean on the other.  The rich deep green of the gardens around Jaffa will live as a delicious spot in the memory of many a pilgrim to these lands.  There is a considerable trade carried on, I believe, in exporting fruit.  I saw the orange exportation going on vigorously.  The Jaffa oranges are very fine, and highly esteemed all over the East.

            Jaffa is traditionally one of the oldest cities in the world, and has figured largely in Eastern history.  It is connected with two of the most despicable acts in the life of Napoleon, called “The Great.”  The first was the poisoning of his own sick to relieve himself of the burden of carrying them further; and the other was of a kindred nature, the cool butchery of 4,000 Albanians, who had capitulated to his generals on the express condition of their lives being spared.  How many of the acts of so-called great men are as mean, cowardly, and villainous, if we can only get out of the glare of the glory which surrounds them to see their acts in their true light.  I know not.  For these acts the Corsican tyrant has not, even in France, found an apologist.

            We saw little of interest in Jaffa:  a lot of crowded bazaar stalls and lazy Turks sitting (as they only can sit) smoking, or sipping coffee, and that is all—if we except a house shown as the veritable house of Simon the Tanner.

            I had landed at Jaffa on Wednesday morning, and was anxious to get on to Jerusalem before the Sabbath, if possible.  But, as I might not return the same way, I was equally desirous of having views of Jaffa, Lydda, and Ramleh, and if possible Kirjath Jearim, before going to the Holy City.  My manner of proceeding in my photographing required me to darken a room or wait till evening, what that would be done for me.  I had no dark tent for working in the field, as I proposed depending for all my views alone on dry albumenized plates.  Wherever I would be likely to remain some time, as in Jerusalem, I could arrange to darken a room, and thus be able to sensitise plates, and develop, &c., during the day; and, if I felt so disposed, try a wet plate, if only to see how the collodion I had brought with me would work.  The first evening I spent in Palestine I sensitized a few plates, which I exposed next day, and developed in the evening.  As I proposed to leave the following day (Friday) for Ramleh, going by Lud—the Scriptural Lydda—I prepared plates to serve for use in both those places. 

            There was no further difficulty in my photographic operations at Jaffa, beyond what I have mentioned in the notes of my experience at Malta, only in a very much increased degree.  The Jaffa water is obtained from springs, and is very salt.  That had no mischievous tendency in the washing operations; but in the development I had nearly failed altogether to obtain a shadow of a picture.  But patience, and the addition of a very large amount of silver to a fresh developing solution, gave a fair picture, and I went on with the others, not losing one plate.

            I read a paper on the albumen process at the meeting of the Photographic Society of Scotland, on the 9^th instant, in which my ordinary manner of operating is given, and which will appear in The British Journal of Photography.  To it I refer my readers for a full description of how I had been in the habit of working before I went to Palestine.  As I go along I will add what difficulties I experienced and how I overcame them.

            Before I had finished the development and fixing of my pictures of Jaffa, and prepared a sufficient number of plates with which to “take” Lydda and Ramleh, the evening was far spent, and I was very tired.  I had arranged to start next morning at six o’clock.  Ramleh, where I proposed resting the next night, is but some twelve miles from Jaffa, but Syrian traveling, especially with baggage, is slow, and I had to stop some time at Lydda to take pictures of it.  I wished to be at Ramleh, to photograph it too—hence my desire to make an early start.

            Before going further, a word or two on Syrian traveling.  There was not in all this land, I was told, a wheeled conveyance, not even a wheelbarrow, nor perhaps many consecutive miles of road where such could be wheeled.  Baggage and goods of every description are conveyed on the backs of mules or camels.  The latter go slower, but carry much more than the mules, consequently can carry much larger and heavier packages; and, from being able to do for a long time without water, are alone suited for desert traveling or wherever water is very scarce.

            Merchandise being so carried, I need not say we bipeds must either use our own ancient mode of conveyance or mount either the horse, the mule, the camel, or the donkey.  Except very timid travelers, who sometimes prefer risking their lives to the tender mercies of the donkey, all who can afford it procure a good Syrian horse—a more or less pure Arab.  Those who make a business of lending horses to travelers have generally got the character of supplying the worst of animals and charging the highest price.  I am not much skilled in horseflesh, but presume from anything I saw in Palestine that the horse hirer is there a good deal like his brother-in-trade in this country.

            Partly from the badness of the roads, but chiefly from the acquired habits of the horses and mules, the rate of traveling is very slow.  The average rate set down is three miles an hour, an easy walking pace; and practically I have found the distance actually accomplished under that in nearly every case though frequently the roads were such as the horses might be raced over.  There is no great natural obstacles to the making and keeping of good roads in the country, so far as I could see or learn—not nearly so much as in the highlands of Scotland, I should say.  The Turks, I have been told, have a positive objection to good roads: perhaps that is a mistake, and that it is only their unconquerable indolence which will not allow them to make such themselves.  Of course nobody can make a road but the government, or with its authority.  Near Jerusalem the Greek Christians (Russian gold?) have, at their own expense, made some good roads, indicating what might be done if the rulers of Syria were at St. Petersburgh instead of at Stamboul. 

            Early on the Friday morning my cavalcade was winding its way through the crooked streets of Jaffa, and after three hours; pleasant riding I reached Lydda.  The country I found quite level, and the road as good as could be expected, where nothing has been done to make it better or worse, but just the track of former passengers lefet unploughed—herer twenty yards there only a few feet, according to the avarice or caprice of the farmer over whose property it passed.

            Lud has a thoroughly oriental look.  It is on every side surrounded by glorious palm groves—not a tree here and there, as one sees in most parts of Palestine.  It would seem that the palm flourishes best near the sea.  Whether it requires the saline atmosphere or not, I cannot say.  The “sight” of Lud is the Church of St. George, very little of which now remains.  St. George—our St. George of England—was born here, it is said; and this church, the ruin of which is the attraction of the place, was erected to mark the spot where so distinguished a saint was born.

            I rode round and through the town, and soon fixed on the point from which, with the light I then had, the best picture of the city could be taken.  In half an hour I was on my road to Ramleh, which I reached in about forty minutes.  I rode at once up to the Latin Convent, where I was to spend the night.  I found this convent clean and comfortable, and every one about it very civil.  After hurriedly partaking of some  refreshment, I set out to look for and take my views of Ramleh.  This was a short day’s work; but to go to Jerusalem would have been too far.

            As the crow flies, Jerusalem is about thirty-three miles from Jaffa; but, from the route I was compelled to take, it was something less than ten miles more.  From Jaffa to Latron, at the base of the hills, is about twenty miles on the map, and being over a level country, a traveler can get over it at any rate he chooses to make his horse go.  The last ten or twelve miles, by the map, to Jerusalem is in reality at least twice that distance by the road I was obliged to travel, and cannot be got over in less than six or seven hours, without risking one’s neck.  In the valleys or wadies (as they are called) the road is generally the water-course, going on the supposition that where there is any water there is little or no traveling.  Very wild-looking places I had to pass, and equally wild-looking people I encountered!

            Some travelers speak as if they enjoyed traveling in places where there is a spice of danger.  I can scarcely say I do so at any time; and in this case I felt very anxious about complete security—to myself, no doubt, first, and after that to my valuable and easily-injured “traps;” therefore, as I could not feel quite safe in traversing those narrow passes where I was informed so many poor pilgrims and travelers had been robbed or murdered, I did not enjoy the grandeur of the scenery—if, indeed, it has any peculiar claim to that characteristic.  Besides, to one who has roamed over the hills and wild glens of his native Caledonia, the Syrian wady is too narrow, and the hills have neither height, individuality, or distinctness of character:  the hills are a seemingly endless succession of knolls, one over the other.

            Passing several Arab villages—which mean a congregation of miserable hovels, quite unfit, according to our notions, for the habitation of the lowest animals—I arrived at Aboo Goosh Kuriet el Enab (the Scriptural Kirjath Jearim), situated right in the centre of the hilly part of our road to Jerusalem, about three or three and a-half hours’ riding from the Holy City.  There I was told a chief of the robber scoundrels used to hold his court, and woe betide the traveler who dared to pass without first arranging with the blackguard sheik of Aboo Goosh!

            My dragoman and guide assured me that the road was then as safe as any in Palestine.  To me that was not saying a great deal for it, as I then looked on every native as an unadulterated scoundrel, who would steal my property and shoot me, whenever he had the opportunity. I learned to think better of them and their country, as my readers will see as I advance in my journal.

            Aboo Goosh is rather a respectably-built village, and looks well, placed as it is on the brow of a hill.  There are the remains of a Christian Church here:  it is tolerably entire, though long unused for the purpose for which it was built.  Three or four Syrian tinkers were busy mending pots within its sacred walls when I passed!  The church is large and very strongly built, and, though not highly ornamental, is, I should say, chastely elegant in design.  It is surely a disgrace that so creditable a specimen of ancient Church architectures should be allowed to remain in such a condition.

            I should have said that I developed my pictures of Lydda and Ramleh before I left the Convent at the latter place, and had intended to have prepared plates to use at Aboo Goosh; but I was too tired, and I thought it so near Jerusalem I could go down any day, and return to my quarters in the Holy City in the evening.  Having rested before coming up to Kirjath Jeatim, I passed on, merely taking an observation how the light fell on it, and determining at what hours it should be photographed.

            I had got quite tired of wandering up and down among stones, over break-neck precipices, and up steeps, that at some distance looked like perpendicular walls.  All calculation of how long I was to be in getting to Jerusalem had been exceeded; and I was still slowly climbing the nine hundred and ninetieth steep—thinking it but one more, and there would be still another and another—when reaching the summit, I at once say—Jerusalem!  Now, I am not poetical—I cannot go into ecstacies; but I never can describe what I felt during those few minutes.  My horse might have carried me over a yawning gulf—I could see nothing—but before me there was Jerusalem!  No word was spoken—there was no expression of joy—but onward we move; and the eye is kept steadily fixed on those grey walls and glistening towers and minarets and domes.  That is Jerusalem—the City of our Lord!

 

1861:  BJP  April 15, vol. VIII, #140, p. 156:

            Stereographs of Java.

            To the Editor.

            Sir,--We shall feel obliged by your stating in your next number that the negatives of the stereoscopic views of Java, so favourably noticed in your Journal, were printed by us from collodion negatives taken by Mr. Woodbury, of Batavia, Java.  It is only just to that gentleman that he should have the credit of having produced negatives which, in point of artistic effect, we believe to be unequalled.  –We are, yours, &c.,

            April 10, 1861.   Negretti & Zambra

 

 

1861:  BJP May 1, vol. VIII, # 141, p. xiii:

            Ads:

            Scenes and Scenery in Java, stereoscopic, on glass.

            ‘Until we had seen the series now before us we had never been able to realize so vividly the actual appearance of tropical scenery.’—Editor of The British Journal of Photography. [GET REF.]

            This splendid collection of 45 subjects is published by Negretti & Zambra, 1, Hatton Garden, 59, Cornhill, & 122, Regent Street, London.  Price 6s. 6d. each.

 

1861:  BJP June 1, vol. VIII #143, p. 206:

            Exhibition.  Birmingham Photographic Society’s Exhibition.

            The Exhibition of this Society, proposed to be held at Aston Hall, was partly opened on Tuesday the 28^th ult.; and although only so short a notice could be given of it, the response on the part of some of our first photographers has been most liberal.

            We noticed amongst the list of contributors the names of Mr. Mudd, of Manchester, who sends eighteen pictures, including his Coniston Falls, Goderich Castle, &c,; Mr. Vernon Heath, fifteen comprising his Views of Endsleigh, the seat of the Duke of Bedford, &c.; Mr. F. Bedford, twenty of his architectural and other subjects—and Messrs. Thompson, the publisher, also exhibit twenty-four pictures by the same artist; Mr. Samuel Fry, nine; Messrs. Wall and Co., three, one being a portrait in oil, by Mr. A.H. Wall; Lyndon Smith, Esq., Leeds, four; John H. Morgan, Esq., Clifton, twenty-four; the Rev. T. Melville Raven, eighteen; Major Gresley, of Winterdyne, near Bewdley, sends eight; Major Shakespear, Royal Artillery, five—Views in the Island of Corfu; T. C. Earl, of Worcester, eleven, comprising his panoramic and other Views of Raglan Castle, &c.; Mr. Robert Gordon, of the Isle of Wight, seven; Mr. Annan, of Glasgow, seven, who is at present the only exhibitor from Scotland, as is Mr. Brownrigg, of Dublin, from Ireland, who sends two pictures; Mr. Lyley,, of Bristol, twelve; Mr. Rogerson, of Manchester, four by the waxed-paper process; Dr. Anthony contributes six pictures, being a portion of Robertson’s Views of Sebastopol and Neighbourhood; Miss Campbell, of Gand, a beautiful little reproduction; and Mr. Bowen, of Kilbain, a Study of a Cottage in Middlesex.  A number of photographs from China, taken during the late war, and kindly lent by a Birmingham gentleman, will form a very interesting portion of the Exhibition; while Messrs. Rejlander and Robinson make a good show in their respective departments.  Portraiture is as yet the weakest point in the Exhibition, and while M. Claudet sends some twenty-four specimens, we miss with regret the names of Mayall, Williams, &c., in this branch, as in others we also miss those of Fenton, Maxwell-Lyte, Lake Price, Frith, Cundall and Downes, Dolamore and Bullock, Negretti and Zambra, Cocke, Wilson, Baldus, Bisson, &c. &c.

            The productions from the solar camera are not so numerous as we hoped from the liberality displayed on the part of the Society in awarding two medals to them.  Messrs. Smyth and Blanchard of London contribute six, Mr. Angel of Exeter four, and Mr. Atkinson of Liverpool three, all plain untouched prints; Mr. Turner of Birmingham three plain and two coloured in oil, and Mr. Pickering of Birmingham three coloured ones.

            The only stereographs we have to notice are those of C. Bruse, Esq., of Birmingham, which are very remarkable instantaneous pictures.

            At present the Society has not received any apparatus.  This is to be regretted, as they have space at their disposal for a large display; as also for hanging a large number of pictures, should any gentleman who has not yet contributed feel disposed to assist the committee by doing so, either at once or at any time during the continuance of the Exhibition’; but of course they will now be ineligible to compete for the medals of the Society.

            We were very much surprised to find that the Birmingham photographers had exhibited so few pictures, as there are many gentlemen in the town using the solar camera; but not only in “solars,” but in portraiture and landscape, the  Birmingham Society is entirely unrepresented, except by Messrs. Rejlander and Robinson; and it is to be the more regretted as there are men in the town capable of producing first-class pictures.

            We hope in the next number of the Journal to give a more detailed description, and also a list of the successful competitors.

 

1861:  BJP July 1, vol. VIII #145, p. 237-238:

            Palestine In 1860; or, A Photographer’s Journal of a Visit to Jerusalem.

            By John Cramb.  No. VI.       

Entrance into Jerusalem—Hotels—First Sabbath—The English Church—Syrian Houses.

            The end of my last article left me approaching Jerusalem.  I had just caught a glimpse of it, and was reveling in the sacred associations and memories it brought up, when I was, as I thought, rudely disturbed by the sudden appearance of two young men, who each saluted me, and presented, or rather tried to present, papers for my perusal, which I learned were certificates from former travelers of the superior character of the accommodation at the hotels at which they were waiters, and on whose behalf they now appeared as “touters.”  I was scarcely pleased at being disturbed then with this question; and, besides, I never could bring myself to be over courteous to touters anywhere.  So I believe I very distinctly and summarily dismissed the representatives of the two leading hotels in the Holy City by informing them that my mind was unalterably made up to go to the other house—which it certainly was not till just then—a resolution which I nevertheless carried out, and never had reason to regret.

            The view of Jerusalem from the Jaffa road has few points of attraction; and as I shall have opportunity soon of fully describing the appearance of the city from the various commanding heights with which it is surrounded, I may as well chat with my reader about the hotels as we walk our horses at a leisurely pace up to the Jaffa Gate, through which I purpose to enter the City of our Lord.

            Till a few years ago all visitors to the Holy Land had to live in the convents of the different sects of Christians; and many travelers still prefer them to the hotels which are to be found in most of the larger cities.  Some Protestant Christians I believe felt it disagreeable to do so, and called loudly on the missionaries and consuls of Protestant countries to use their influence to get hotels opened in as many of the cities of Terra Sancta as possible.  These have met with a measure of success, and wherever tried they have been able to remain in existence.  In 1860 there were three hotels in Jerusalem kept by members of the English Church there.  The one I had chosen is the smallest—scarcely aspires indeed to the dignity of a hotel, but may be called a boarding-house.  It is in the Turkish quarter, and overlooks the Via Dolorosa, and has to a photographer an invaluable quality—an inexhaustible supply of fine water.  It is kept by Max Unger, a converted Jew, an honest and simple-minded man, whose attentive and accommodating disposition will make him a favourite with all who visit his house.  The other two I had good means of knowing are good and comfortable houses.  That of Simeon Rosenthal is on Zion, near the Jaffa Gate, and commands a fine view of the City.  The usual system of charging is the same at all—so much per day for everything, including food and lodging.

            Having got my cavalcade within the walls of the city I dismounted, and guided by Mr. max Unger I was soon inside one of the clean and comfortable rooms of his house, disencumbering myself of the now useless defensive gear, six-barrel revolvers, &c., which I am glad to say I never required during my journey, but for show, though, as will be seen by-and-by, I was unfortunate enough to be in that country during the whole of the terrible massacres which horrified Christendom last year, and which furnished the pretext for the presence of a division of Napoleon’s army in that ungoverned country.

            After I had seen my baggage all safely placed, and had eaten my first meal in the Holy City, I was soon ready and wiling to enter on my first sleep too, and a pretty long one it was.  Had any one told me that I should go to sleep in an hour after I entered Jerusalem, and not rush up to the Mount of Olives the first morning at early dawn, but would lie peacefully unconscious of where I was, dreaming of far-distant scenes of loved friends in the old country and of dear ones gone to the better land—weaving of memory’s woof a fabric of bright and gladsome hues—I would not have believed him.  Late in the morning when my servant called me I found I had little time left, so I had to get ready as fast as possible and go to church service at half-past ten, and leave all sight-seeing till another time, if not to another day.  Yet what could be a more fitting employment of my first hours there than to join in worshipping God on the summit of Zion?

            The Anglican church I found to be a substantial Gothic building, inside of which was assembled a large and respectable congregation.  It was pleasant to hear the full-toned organ pealing forth its notes of praise; and my readers will appreciate the peculiar feelings with which one joined in singing the psalms of the “sweet singer of Israel” on the very spot where he had chaunted them three thousand years ago.  The Rev. Mr. Crawford—an accomplished and scholarly man, of whose genial and kindly disposition I can speak highly—preached on this occasion; and I regretted that his failing health precluded me from again enjoying the same advantage.

            On the conclusion of the service I returned to the hotel, guided by Mr. Max, through the narrow streets, among the medley of loitering passengers, laden camels, donkeys, &c.; for there is little of what we would call Sabbath appearance in the streets of Jerusalem on the Lord’s Day.  There are three holy days observed here:--Friday is the Moslem Sabbath”  it makes least appearance.  Saturday is the Sabbath of the Jews, and is, perhaps, as evidently a day of rest as any of the three.  And Sunday, the first day of the week, is of course the Sabbath of all Christians.

            After dinner I went out for a walk outside the walls.  I soon found that my dragoman had but a very limited knowledge of the topography of the city and its environs, but that he had the rare quality of knowing how little he knew, and was consequently unwilling to move far from the Jaffa Gate.  I knew the city was something like square, and that there was at least a gate on each side; so I thought I would walk round to the Damascus Gate, and, perhaps, if I could make my way to the gat opposite the one I had emerged from the city to the St. Stephen’s Gate, I would thus get a sight of Mount Olivet.  I did so; but by the time I got so far as to be able to see the sacred height well, it was approaching sunset.  Philip reminded me that the gate would be shut then, and that if I did not make haste I would be locked out.  There was so much to be seen I thought it cruel to be so hurried; but true enough the time of gate-shutting did approach, for as we spoke a soldier appeared on a slight elevation which hid from my view the yet open gate, and in a wailing tone called out, in Arabic, that he was just “going to shut the door.”  Philip rather unwillingly entered; for he wanted to retrace his steps to the Jaffa Gate, from which it afterwards turned out he could alone make his way to the hotel.  He told me nothing of that till he had me in a labyrinth of narrow dirty streets.  On we wandered, but seemed to make little progress.  Unfortunately I had, as yet, no knowledge of the streets, and positively did not know where my temporary domicile was.  Philip, however, remembered that it was near the Russian Consulate; and, as the flag of the Czars floated over it, he and I soon caught sight of that representation of Muscovite majesty, and so got out of the difficulty.

            On Monday morning, as easily as I thought it advisable, I went out to deliver the notes of introduction I had brought to the Consul, the Bishop, and most of the missionaries.  At the Consulate I met a Jew resident who had for some time practiced as a professional photographer.  He took a pretty fair picture, and had done a considerable number of views; and, had he been as frank and reliable as I could have wished—and I may say as I might have expected from his extraordinary professions of universal benevolence and earnest desire for my welfare and success in particular—he might have given me some valuable information regarding the peculiarities of working in that country, the best views, best points, and the time to take them, &c., &c.  But, as it was, I soon found that he was a Jew in the worst sense we are accustomed to use that word.

            After leaving the Consulate I returned to my hotel for the purpose of sensitizing a few plates, that I might expose them in the afternoon.  In most cases it would have been a wiser course to wait till I had seen the city from various points, and had fixed on the best views, and how many I could afford to take.  I was, however, in a hurry; and as I had seen one really good view, it mattered little to me if there were ever so many as good, or better:  I could not be far wrong in securing it.

            I have previously promised to give you some description of the peculiarities of the Syrian houses.  I may as well do so before I enter upon my photographic preparations.  And in doing so I may make my Jerusalem hotel a model as far as it can fairly be esteemed to b e so.  The houses in Palestine are built of stone, and have a decidedly substantial appearance.  Very little wood is used in the construction of them.  Many parts that with us in so-called stone-and-lime built houses are of wood are there of stone and lime, or of stone or lime alone.  There are no wooden floors; nor any joisting or wooden beams or girders; nor any wood in the construction of the roofs.  Neither are there any cupels or wood lining, and there are no slates.  These are a few negations.  The walls are generally very thick, and of stone and lime.  The roofs are of the same material, the ceiling of each room being arched, and of solid masonry of great thickness.  If there be more than one flat, the floors and ceilings are formed in the same manner.

            Instead of wooden, or tile, or stone, or earth floors—being all the kinds I had ever seen before—the most usual Syrian floor is of lime; a fine cement, spread as smoothly as possible, and having a polish and closeness of grain like fine marble.

            In Jerusalem the roofs of the houses are not quite flat, but in the main are so.  The central part of the arched ceiling of the rooms is carried up, and has a dome-like appearance on the outside.  If the rooms be large and of an oblong form, there are generally two or more of these domes.  The general effect of them in the views of the city is very pleasing.  The great intensity of the light enables the people to do with small windows, and very few of them; and the Orientals having a dislike to the faces of their wives or daughters being seen, it leads them further in the same direction.  There are generally not any, or very few, windows toward the public thoroughfares.  An ordinary plan of building a house of some size, such as an effendi (a gentleman) would build, is something like this:--A dead wall is run up towards the street.  It is pierced by only one opening, which is the main entrance or front door.  On opening it the visitor finds himself in a paved court, of a nearly quadrangular form.  The various rooms of the house are on three sides of this square:  all the windows and doors are towards it.  To these rules there are many exceptions, and especially the inner courts are of very various forms; but in all native houses the idea of construction is the same.  Max’s hotel is situated on a steep slope.  There are two flats:  the upper flat is the principal one, and the floors of it are level with the street, to which the house fronts.  The lower flat may be esteemed a kind of area flat:  the rooms of it have no openings whatever but to the central court; in fact the earth is not taken away from the other side.  Native houses never have any chimney or other provision for fires in their rooms; and yet they have some cold weather every winter:  this winter, for example, in Jerusalem, they had a severe snowstorm.  The native population ignore such facts, and, I was told, sit and shiver through the cold weather.  Personally I am fond of the sight of an open fire, even in pretty warm weather, in this country; while, on the contrary, in Syria I never missed it.  There is no damp air, nor damp place to warm or dry, and the temperature was never below a point which was quite agreeable; but by-and-by my readers will be able to judge how much higher it was than most of them would esteem so.

            The outline I have given of the general plan of the buildings is rather against the application of much architectural decoration—the front of the houses being properly within the property, the part which faces the street offers few points for the application of ornament.  The buildings are generally plain.  “Oriental magnificence” is certainly not to be found in the exterior of the private dwellings, if indeed it ever existed anywhere but in the pages of poets and romancist travelers and historians.

            The interiors of the rooms are generally also plain.  The walls are whitewashed, and remain long of a snowlike whiteness.  The bright polished cement floors are here and there covered b y brilliant-coloured small carpets, on which the people squat down in their own peculiar fashion.  This sitting on the floor leads to the making of many elevations in a room, to suit the varied social standing of the occupants.

            The interior furnishing of the houses occupied by western residents in Jerusalem is generally as near to the style which prevails in the country to which the proprietor belongs as can be obtained:  I need not, therefore, further describe the inside of Max’s hotel.

            Having arranged with Mr. Max to use one of the suite of rooms I had engaged as an operating-room, I set to work to darken it as efficiently as I could; and here I may remark that my sympathies are completely with Mr. Thomas in the spirit of his directions on this point.  I have always been intensely anxious to avoid the possibility of any white light in my operating-rooms or camera.  For dry-plate photography such precaution is peculiarly necessary, and in the East I found it no easy matter to keep it out from either.  The difficulty of making a room sufficiently dark, indeed, and the uncomfortable feeling one had in being so closed up, led me almost invariably to prefer working at night, when doors and windows could be open.

           

1861:  BJP July 1, vol. VIII # 145, p. 238-239:

            Exhibition.   Birmingham Photographic Society’s Exhibition.

                        (Communicated)

            Although the arrangements of the Society have been somewhat retarded from causes beyond immediate control, the Exhibition has, since our last notice, been generally completed and thrown open to the public.  Delays have taken place in forwarding the pictures, and several places which were applied for have not yet been filled up; but the Committee, having a large amount of available space at disposal, has determined to make the requisite arrangements from time to time for fresh contributions rather than postpone longer the preparation of the catalogue.

            This Society having offered two medals for the best productions of the solar camera, have received in competition twenty-two pictures, coloured and plain, one of the latter, however, being worthless; but none are fair exponents of the capabilities of the camera.  Of these, the specimens of Mr. John Turner, of Strafford Street, Birmingham, a member of the Society, claims the first attention, it being a coloured portrait of the late Rev. John Angell James, a gentleman not only well known and valued in the town, but generally esteemed throughout the country during a long career of usefulness.  The picture is half-length life-size, the pose easy, and the facial expression natural and full of character.  The painting is well executed; and, from a comparison with an untouched duplicate, on double-elephant drawing-paper, which accompanies it, according to the regulations (but which, being a waste copy, has not been hung) great credit is due to the artist for the manner in which he has retained the characteristic expression of the photograph.  No price has been attached to this picture; but it ought to find a ready purchaser.  A second picture, painted in oil, is also exhibited by Mr. Turner has two other uncoloured pictrures—one particularly noticeable, from its peculiar flatness and want of half-tone; the other, a vignetted head, life-size, with plenty of half-tone, but somewhat hard, and both of an unpleasantly greenish hue, apparently due to over-development:  this is much to be regretted, as it gives the subjects a death-like appearance, which a warmer tone would have removed.

            Mr. Pickering, of Birmingham, contributes three solar pictures, none of which call for particular comment.  One is a half-length portrait, painted in oil; one a bust of a child, in water colours; and the other a bust, in crayon.  Not being accompanied by plain copies as required, we could not judge of the capabilities of the photographs apart from the artistic merits.  The half-length, though not striking, is carefully painted; the child crude and in-harmonious in colouring; and the bust in crayon reminds us very much, from its tone and the peculiar antique-looking dress, of an old engraving.

            Messrs. Smyth and Blanchard, of London, have forwarded six pictures, two of which—the vignetted portraits, about half life-size, of a lady and gentleman—are very fine productions, of a warm, pleasant tint, and full of half-tone.  Two life-size busts are vigorous in execution, and would form excellent studies for an artist, but are cold in tome; and we were rather surprised to find so little care had been bestowed upon them, as they have been sent without glazing, and the otherwise good effect is materially destroyed by the warping of the mounts.  Of the remaining prints, we must characterize one as decidedly bad, and, like the two preceding ones, is unglazed; the other, though not equally bad, is hard and flat:  the tone of both is cold and unpleasing.

            From the three life-size vignetted portraits by Mr. Atkinson, of Liverpool, of which we cannot say a word of praise, the whole being flat and hard, we turn with pleasure to the four productions of Mr. Angel, of Exeter.  Unlike all the others, which are plain developed prints, those of Mr. Angel are on albumenized paper, and toned with gold.  With one exception, they exhibit more artistic feeling than any other solar picture exhibited  An enlarged full-length group of two young ladies, in walking-dress, is the most satisfactory; the pose is easy and graceful, the drapery clear and distinctly rendered and full of half-tone, and the whole gives evidence of careful study.  With a few skilful touches from the hands of an artist such a picture would, as a portrait, be almost faultless.  In contradistinction to this group is a male portrait, about half life-size, exceedingly vigorous in its treatment, and a good study, but completely marred, as an artistic production, by an ugly perpendicular excrescence in the form of the chair back, which seems to have no connexion [sic] whatever with the subject, and puzzles the spectator as to what it can possibly be.  The two remaining pictures exhibited by Mr. Angel—a full-length group of children, and a vignetted half life-size portrait of a female—are good as photographs, the latter particularly so; but the group, as in the former instance, would have shown better had it been touched or coloured, as thereby a slight tendency to mistiness about the features would have been removed.  We are disposed to consider the pictures of Mr. Angel as generally preferable to those of Messrs. Smyth and Blanchard, as they bear the impress of more studied and artistic feeling.

            Though too late for competition for the medals, we would throw out the hint to the owners of solar cameras that it would be advisable to send specimens of their productions to the Exhibition.  It is the first time that they have been brought collectively before the public, and by comparison with the works of others the relative capabilities of each one would be rendered more apparent; and as the last year was so unfavourable for the use of the camera, and the notice given by the Society so brief, we are disposed to think the pictures exhibited are not a fair test of what can be done.  We should be glad to see the display in this branch of the art strengthened by an increased number of prints.

Before entering upon the departments of landscape and portraiture, we cannot refrain from adverting to the wonderful instantaneous stereographic transparencies of Mr. Breese, of Birmingham, an amateur member of the Society. They form a distinctive feature in the Exhibition, not only from their great excellence, but as being the only stereographs exhibited.  It is also the first time the public have had an opportunity of inspecting these exquisite productions, as they have hitherto been entirely confined to a few personal friends.  In stereographic photography Mr. Breese seems equally fortunate with all classes of subjects:  --sunlight pictures—dashing waterfalls—cool majestic ruins—animated life—the onward career of the express train—or the calm quiet of the moon,  and that luminary, too, when under the influence of an eclipse, with only a small portion of her orb visible—are all truthfully rendered, and with the greatest delicacy of gradation.,  One of the most strikingly beautiful of the eighteen slides exhibited is a group of objects arranged on a white marble chimney-piece, with a mirror as a background.  It consists of a chased silver flagon, a parian statuette under a glass shade, a cut glass jug and lustre, a glass of water, and two pearl shells.  To render the texture of the various substances forming this group, together with the reflected lights, consequent upon the arrangement, and from a window which is faithfully delineated by reflection upon the silver, most photographers would shrink from; but this has been accomplished by Mr. Breese in a manner at once startingly real and beautiful, and not the slightest doubt can be entertained as to the nature of the different materials.  But by far the most marvellous are the moonlight scenes, of which three are exhibited—one the full moon in the midst of, and just breaking through a mass of clouds, illuminating their prominent edges, and, as it were, tipping them with silver; another, the reflection of the moonbeams upon the waves of the sea, presenting so marked a difference from the rays of the sun, as shown in a similar slide of Sunrise, from the same point, and Moonlight Meditation, a female figure contemplating the full moon through an open window.  This slide, we believe, is printed from two negatives taken immediately succeeding each other; but this does not detract from the merits of the picture.  One arm of the lady, covered with a white lace sleeve, rests upon the polished surface of a table under the window; and, though the figure of the lady is little more than defined, the reflected lights upon the table and lacework of  the sleeve is finely rendered.  Another charming production is Powerscourt Waterfall, County Wicklow, presenting, by its peculiarly real and silvery appearance, a marked contrast to the stereographic waterfalls we are in the habit of seeing.  The transparent fluidity of running water is also very faithfully rendered in the View of Fountains Abbey. Each stone of this grand old ruin is in Mr. Breese’s hands clothed with that exquisite gradation of tone which time alone imparts, and which with the wonderful atmospheric effect, together with the most magnificent of natural skies, serve to render this one of the most delicately exquisite productions of its class we have yet seen.  The view of The Crystal Palace, from the Anerley Road, is another one which we should fail in attempting to describe:  the atmospheric effect is most marvellous, and the distance rendered as we could only believe it to be by nature.  In other views the fancy of Mr. Breese has revelled in storm clouds and storms—the waves in some cases lashed into foam, or calming down after their passing fury, as in Kingstown Harbour, a storm clearning off, or a Calm Sea off Llandudno.  On  the occasion of the visit of Her Majesty to Birmingham, to inaugurate the opening of the Hall in which this Exhibition is held, Mr. Breese took four pictures of the streets adjoining the Town Hall, which are now exhibited, and from with the general public one of the chief sources of delight.  They represent, first, the order maintained by the officials immediately prior to Her Majesty coming in sight; second, the arrival at the Town Hall; third, the departure of Her Majesty from the Hall; and fourth, the appearance of the streets after the departure:  the crowds have cleared away, and one solitary omnibus alone represents the animation of the town.  Copies of these pictures were forwarded at the time to Her Majesty, who was graciously pleased to acknowledge their great excellence.

            If on no other account, photographers are deeply indebted to the Birmingham Society, and also to Mr. Breese, for the exhibition of these transparencies, which we are certainly surprised should have remained so long publicly unknown.  We believe Mr. Breese has been induced by his friends to print copies for sale:  an opportunity will thus be afforded to those interested in our beautiful art, and having the means at their disposal, of possessing themselves of some at least of these truly exquisite productions.

 

1861:  BJP July 15, vol. VIII #146, p. 255-256:

            Palestine In 1860; or, A Photographer’s Journal of a Visit to Jerusalem.

            By John Cramb.  No. VII.    

            Jerusalem—Supply of Water—First Photograph of the city—view from Mount of Olives and from Scopus.

            It would be quite useless to inform my readers how I darkened my operation-room, as I may not again do so precisely in the same manner.  Each occasion requires its own adaption.  I rather prefer to work by artificial light for several reasons:  it is more manageable—the same arrangement does for day and night—and, above all, it is so perfectly reliable:  there is no chance of being deceived with bad yellow glass or paper which is not yellow.  By using artificial light one can be certain there is no white light admitted into the room.  After all openings have been shut, and the candle or lamp is extinguished, the operator should sit down for a few minutes before he risk to commence.  The probability is that, after he has supposed every opening by which light could possibly penetrate has been closed, there will remain several chinks and seams—it may be little more then perhaps pin-holes, but quite sufficient, if neglected, to utterly unfit the room for photographic operation, particularly for the preparation of dry plates.  The frequent washing of these expose them so much that, if there be any diffused white light in the room, they are almost certain to be spoiled; and, again, any light they may get during preparation tells so much more if they are long kept before development.  I have seen many operating-rooms in daily use for wet plate work in which I am sure no one could risk sensitizing and washing plates to be kept for some time.  But I did not intend to say a word on that subject here, further than that I succeeded in making my room dark enough to suit my ideas after a good deal of pinning and tacking, yet so that I could open all or darken again in two minutes.

            I have elsewhere given an account of my usual plan of sensitizing and washing.  I proceeded here as usual.  The water in Max’s well I found very good, though contaminated with lime salts; but the people of Jerusalem do not look upon that as a photographer does:  lime is no contamination; it is put in intentionally to keep the water sweet.  In my last, when describing the Syrian houses, I should have described the provision that is usually made for a supply of water, particularly as that is rather of more importance to the photographer than anything else about these houses.  Rain is the principal and best source for the supply of water in Eastern cities.  In such countries as Palestine there are few rivers or springs of living water.  The consequence is that water is one of the things men desire to possess as of the highest value.  A well is a mine of wealth to the fortunate possesser.  Rain is the chief and best source of water supply for Jerusalem.  There is but one good well—the well “En Regel,” below Siloam.  A grand one it is:  it never seems to fail.  All last summer, though it was an unusually dry season, every day, from early dawn until dusk, half-a-dozen strong, half-naked Arabs, kept ever plunging their buckets into its inexhaustible store.  The Arab brain has not yet fathomed the principle of the pump.  As a matter of course, as they do not comprehend how it can draw up water, they think it must do so by magic.  When the builder of the alms-houses for poor Jews, which Sir M. Montefiore has recently had erected over against Zion on the side of the Valley of Gehinnon, put down a pump he had brought from England, the Arabs at first thought him a fool to expect that water would come up a narrow pipe without a bucket or rope.  The pump was, however, set to rights; of course the water did come; and, as a consequence, the architect and builder ceased to be a “fool,: but the poor ignorant Arab remained doubtful whether his being able to do feats of magic proved him to be a better or a worse man.

            I have referred to the well in the house:  it is so named, though, as we use the word; its being so designated is a misnomer.  They are not wells, but cisterns in which the prudent householder stores the abundant supply of water which falls on his housetop during a few weeks of the year, and which will, if properly collected, and used with reasonable care, furnish an abundant supply for all the year.  When a man begins to build a house, the well or water cistern is first made, being frequently cut out of the rock, and it is always under ground.  It is carefully and strongly built, l and covered with a hard and close-grained cement.  It is arched on the top, leaving an opening through which the water is drawn, and by which also a man can descend for the purpose of repairs.  Over this, then, the house is built.  The well is, in fact, in the cellar of the house.  The top of the house is so constructed that the water all runs by connecting channels to the “well.”  Nowhere in Syria need there be the least difficulty about a good and abundant supply of water, if all the houses are everywhere built as I have described.  But wherever there is any other source of supply, however inferior in quality, or uncertain in amount and constancy, men will trust to it:  they are, in consequence, frequently perishing for want, and never half as well off as they might be if the winter’s rain were but properly stored as a provision against the summer’s drought.

            I did not get my plates ready till after four o’clock.  I was anxious, however, to take a picture the first day I was in Jerusalem:  so off I went about five o’clock, after I had done partial justice to dinner, which had been preparing simultaneously with my glasses.  Enthusiastic photographers are very apt to forget all about dinner summonses; and it is perhaps as well—though they do not always think so—that sensible housekeepers are as decided in insisting that roast beef should not be over-exposed on the table as they have taken care it should not be under-done in the kitchen.

             By the time I had my camera adjusted the sun as getting low and the shadows were becoming long, reminding one of home as compared with the nearly vertical light which prevails in such countries.  I exposed for two minutes with the middle size of stop, about half-an-inch in diameter, in my fifteen-inch focus lens, and same time for the stereos.  I have already mentioned that I took the 8 x 10 and stereo. pictures at one time, using one stand for the three cameras.  In my next I will give a full description and a drawing of the arrangements.

            I took two complete copies.  These I developed the same evening, and they turned out as well as I could have expected.  Those who have seen the published views will recognise it under the title of Jerusalem from the North.

            I again sensitized before going to bed.  This practice I proposed to carry on daily, developing each day’s pictures the same evening, and preparing for the next day.  I soon found it would not suit in practice, however well it might look on paper.  It was too hard work, and there was no need for such hurry.  Most of the objects had been pretty much as they were for a very long time, and they would all accommodate me by remaining a few days longer, till I had caught their shadow, without endangering my health or life, which I soon perceived this day-and-night working would shortly do.  I resolved to betake myself next morning to the Mount of Olives, and to do the grand view of the Holy City, obtained from any point on its summit.  Olivet is not properly a mount, but an elevated range extending along the whole eastern side of the City, with the so-called Valley of Jehoshophat lying between it and the heights on which Jerusalem stands.  Three distinctly marked eminences are easily made out.  On the central of these stands the Church of the Ascension, built on the spot from which tradition says our Saviour “was parted from his disciples and carried up into heaven.”  From this central point a fine view of the city is obtained.  It “comes in” in two with a lens which covers well.  The spectator is a considerable height above the highest parts of the City, and it lies as it were nearly at his feet—every important object being distinctly seen.  Passing to the southern shoulder of the Mount of Olives a better view is obtained—more angular, and bringing in a little of the south side of the city wall.  It makes a much finer composition, and has, perhaps, but one drawback—the Garden of Gethsemane is not seen at all.   Another objection, also, is that the view becomes lengthened, so that three plates are required to include the whole City within and without the walls.  Again, moving northward to the third elevation, designated Olivet, a very good view is also obtained, finely drawn together, and with a more varied foreground than either of the other views.  Farther north still, and a little west from what has been called Scopus, an excellent picture of the Holy City in one view is obtained, showing the northern and eastern sides of the City wall.  In each case, the elevation on which the spectator stands is such as completely commands the whole City.  The near parts being in all the lower—the ground rising as the objects recede.  Those travelers who approach Jerusalem from the north by the Damascus or north road, get this grand picture as their first view.  It bursts on us at once; and, even after one is familiar with every object on it, the impression produced on the mind is such as can never be effaced.  No wonder that those who have come far, and to whom this is the realization of a life-long desire, should lay aside for a time the prudential considerations which stifle the expression of strong emotion.  It is a study for a psychologist to observe, on such an occasion, the various manners in which each nationality expresses the full joy of a grateful heart.  And how truly gladdening it is, too, to look on, while Jew, Moslem, and Christian together join in thanking the “One God and Father of all” that their eyes at last look on what all recognise as the Holy City!

            I return to my camera on the top of Olivet, and while I expose a few plates I will chat a little more with my readers about the City which lies before me, and also embrace the opportunity, as I have before mentioned, of taking a picture of my arrangements of cameras, and giving a description of their modus operandi.

 

1861:  BJP July 15, vol. VIII #146, p. 258-259

            Stereographs.  Illustrations of Scenes in Madeira, taken by Russell M. Gordon.  London:  Murray & Heath, Piccadilly;  Horne & Thornthwaite, Newgate Street.

            The island of Madeira cannot fail to be more or less interesting to almost every Englishman, frequented as it is by those suffering from, or threatened with, an attack of that fatal malady, consumption; and there are but few amongst us who have not some friend or relative who has been or is about to go there.  This alone would render the series before us popular; but, in addition to the adventitious attraction of sentiment, many of the scenes are in themselves highly beautiful, and other curious.  The execution of the pictures is also such as to command praise, the operator being evidently a skilled hand.  We propose describing some of the more remarkable amongst these specimens; and first we notice the

            View on the Seixal Road – a subject as curious as it is picturesque.  The whole island is of a basaltic formation, and is deeply indented with narrow valleys and water-courses:  the elevation is also very considerable.  In this view the spectator is upon a narrow pathway, high up on the almost perpendicular rock near the coast.  A promontory of the rock juts out in the middle distance, across which is seen a small bay, with another projection beyond.  The rock itself is worn and furrowed, and clothed irregularly with vegetation of humble character.  The narrow pathway, only some three or four feet wide, is, a little beyond the part where the operator is situated, protected by a sort of artificial screen from the influence of a mountain stream, which falls perpendicularly almost in a mass of fine vapour.  At the entrance of this covered way a man is seen contemplating the prospect beyond.  This slide is novel, picturesque, and beautifully executed.

            Loo Rock and Pantinsh is the title of an instantaneous marine view, with a calm rippling sea, and on which is seen a vessel at anchor, a few light streaky clouds, and plenty of atmosphere.  The large rounded stones on the beach tell of storm and tempest, in spite of the present calm.

            Parta Da Cruiz Bay is another “instantaneous” picture.  The surf rolling in on the low shore, the partly wetted stones of the beach, and the collection of small houses congregated at the foot of the huge mass of inaccessible rock, present a vivid semblance of the reality.

            In the Peak Fort we have a scene of quite a different character.  The fort, standing alone on the summit of an eminence, is the centre of attraction to a numerous group of residences built around the base of the hill; and these seem to belong to people well to do in the world, seeing that they appear commodious, and are mostly encompassed by gardens, in which there is a sprinkling of tropical trees.

            Going to Town is the title of an interesting slide.  A sort of roadway (flanked on the left by a high wall, against which the shadows of a row of trees on the right are cast, chequering it in grotesque and suggestive forms), is occupied by two vehicles, in each of which is seated a lady and gentleman.  These vehicles are without wheels, and appear to be constructed of basket-work.  Their form is something approaching to that of the well-known children’s perambulators:  they are propelled from behind by two men, and seem to be made to run on an iron frame, sledge fashion.  Against the wall one of these vehicles is turned up on its side, and upon it a man is sitting, with his back, against the wall, taking a quiet nap.  In the distance a tree of strange aspect is visible.  This slide is one very characteristic of the peculiarities of the locality.

            One of the most interesting of the whole is labeled Lazzaroni and Water Carrier.  The subject is admirably grouped and executed, and forms a thorough picture.  On the left is a flight of stone steps, on the lower of which stands the graceful water-jug, close by which is seated a female at work.  She is dressed in a striped skirt and loose bodice or mantle, and has a singular-looking peaked cap on her head.  Close behind her is an arch, over which are trained roses  and various creepers.  Through the arch portions of a well-kept and beautiful garden are seen, with many a singular plant.  The paths are constructed of small rounded pebbles, placed as a paving, in regular disorder.  Leaning against the right side of the arch, half imbedded amongst the flowers, a male figure in picturesque costume is seen, guitar in hand, and apparently serenading his quasi-fair companion.  The costume of the man consists of shirt and drawers, terminating above the knees with loose jacket without sleeves; and he also wears the same kind of pointed cap as the female.  The legs and feet are entirely bare.  He is by no means ill-looking, and his attitude is graceful and easy.  Above his head are two blossoms of a trumpet-shaped flower, depending from the arch.  This is a highly-pleasing composition.

            Cottage at Santa Anna.—This, though interesting, as all illustrations of local habits and customs are, is not nearly so picturesque as the last-named slide, the numerous women and children being inartistically grouped; but one receives an admirable notion of the character of a native residence.  The rocky ground, the luxuriant foliage—amongst which are large shrubs, bearing the beautiful trumpet-formed flower noticed in the last—the high-pitched thatched roof of the wooden cottage, with unglazed windows and external gallery, to which access is gained by an outside step-ladder, are all elements of a pleasing subject, which the figures alone somewhat spoil, from their artificial arrangement.

            The Screw Pine-Tree at the Deanery forms the centre of a scene in the Deanery garden, in which three ladies and a gentleman are well grouped, and which—besides the special botanical lion named—contains others but little less interesting.

            Peasant Women, of which there are two—one seated with a distaff in her hand, and the other standing with a water-jug in her arms—seem to be enjoying the deep shade of a thick wood.

            Scene Near the Pria is an extensive view of some elevated district that is unlike any that we have seen.  Patches of cultivated ground are scattered amidst bare rocks.  In the centre is a square stone hut, with pyramidal thatched roof, half covered by a luxuriant vine.

            There are views of several churches and cemeteries, all more or less interesting; amongst which we may mention specially the Protestant Cemetery and the Mount Church.  This last is particularly pleasing as a picture.  The church, half hidden amongst the trees in a sort of amphitheatre near the mountain-top, forms the artistic focus.  On the long grass in the foreground a youth is reclining at the feet of a female seated in a chair and with a distaff in her hand, while a man in highly-picturesque costume is standing, and in conversation with the others.  On the right a fine Deodara pine, with its gracefully-sweeping feathery boughs, is beautifully depicted.

            The View Near the Pico Ruivo is particularly worthy of being mentioned.  Located at an elevation of about 6000 feet above the sea, the mountain runs into grotesque and broken peaks, traversed by deep ravines, clothed on the sides with some stunted brushwood of unfamiliar aspect.  The atmosphere and chiaroscuo (sic) of this slide are exquisite, the whole being vigorous and artistic in an unusual degree.  There are several illustrations of some singularly-formed gigantic rocks, standing out perpendicularly from the surrounding ground.  To describe them would be impossible.  We must, therefore, content ourselves with merely giving the following list, viz.:  --Rock in the Ravine of Sao Vicente; Chapel (in a rock) of the same locality; Rock Near Pico Ruivo; and lastly, Homem-em-pe.  As a concluding piece we must mention an “instantaneous” view of H.M.S. Euryalus Saluting in Funchal Harbour, in which the ripple and smoke from the fun are both well caught.

            Wee can conscientiously recommend our readers to procure this series, which, from its novelty, cannot fail to afford much pleasure.  The whole are well executed, both as regards the negatives and printing, and may be pronounced an important addition to any collection.

 

1861:  BJP Aug. 1, vol. VIII #147, p. 269:

            Notes of a Photographic Trip to the Orkney Islands.  By John Traill.  (Read at a Meeting of the Edinburgh Photographic Society, on July 17^th, 1861.)

            One Friday morning in June, 1860, saw me embarked on board the Prince Consort, a noble steamer which plies weekly between Granton Pier and Shetland, calling at Aberdeen, Wick, and Kirkwall en route for Lerwick.  Mr. James Munroe gave me his pleasant company on this tour.  Kirkwall, a town in the Orkney Islands, was the place of our destination; and the wind being fair, Edinburgh and its attendant hills soon disappeared from our sight.  The great number of passengers for the Northern ports, especially Kirkwall, very much surprised me.  Believing, as I had been led to do, that I was going to a place inhabited by a race of semi-barbaric natives, who spoke Norse, subsisted by fishing, and were as much at home in the water as on the land, I could not well conceive what motive induced so many respectable people to visit these islands; for, so far as a slight inspection of the passengers’ luggage could inform me, I was satisfied that my friend and I were the only photographers among the numerous company.

            Sea sickness kept me below until Saturday morning, when Mr. Munroe called me on deck to see a shoal of whales disporting themselves about a quarter of a mile from the vessel.  I found we were now off the Orkneys, having crossed the eastern mouth of the Pentland Frith, which divides these islands from the mainland of Scotland.  The morning being fine, and the sea as smooth as glass, the first sight of these islands was everything that the most enthusiastic tourist could desire.  On passing a little island called Cobinshay—one side of which was a grassy slope, the other a frowning precipice, inhabited by myriads of sea-fowl—our photographic enthusiasm rose to such aq pitch that we at once determined to have a flying shot at it with the camera; but, such was the rapidity of the steamer’s movements, that long ere we got our “traps” unbuckled, this picturesque island was left far behind.  Winding our way in among the islands, we, shortly after mid-day, case anchor in the Bay of Kirkwall, on an inlet of which is situated the town itself.

            Landing, and proceeding up its long narrow street, I confessed to a feeling of something akin to disappointment when I found that, with little exception, it presented just the same appearance as others of our Scottish towns similarly situated; and, instead of my ears being regaled with the harsh Norse language, found that English, pure and undefiled, was exclusively spoken by all classes.  The inhabitants, instead of being the semi-barbarians we had calculated upon, had a shrewd, intelligent, and, in some cases, even a refined appearance.  “Comparisons,” they say, “are odious;” but the inhabitants of Kirkwall will certainly, in mental and physical qualities, contrast very favourably with those of Edinburgh.

            A letter of introduction to Mr. ------ secured me the acquaintance of that gentleman during my stay in Orkney; and both to him and Mrs. --- I was much indebted for an account of the most notable subjects for photographs in these islands, with (what was also of great importance) the best points of view under particular circumstances of light, together with other little bits of information which can best be appreciated by those who are similarly situated as we were.  Those of the members who are about to pay a photographic visit to a strange country would do well to secure an introduction to some intelligent resident, feeling assured that, as in my case, they will be such procedure save themselves a world of trouble in the selection of views, &c.

            The town of Kirkwall, although unpretending in the main, still presents some notable features.  It contains St. Magnus’s Cathedral—a magnificent gothic pile, in an excellent state of preservation—the ruins of two palaces, and the remains of a castle.

            From the photographs which the Secretary will submit to your inspection as illustrations to this paper, you will at once see the imposing nature of these structures and the architectural skill and sufficient means of these islanders, at even a very remote date from the present times.  The antiquity of these buildings may be deduced from the fact of St. Magnus’s Cathedral having been erected in 1138.  The length of this stately fabric is 226 feet, breadth, 56 feet; height of the main roof, 71 feet, top of steeple, 133 feet.

            Those of our brethren who for months can find morning employment with the camera among the slopes and crags of Arthur’s Seat, would, in the far North, find similar employment for years.

            A binocular camera for stereographs, and a portable landscape camera for pictures twelve by ten, formed our “tools.”  We had with us a small supply of albumenized plates, ready excited, and the necessaries for collodion plates, either wet or dry, as circumstances might demand.  The lenses with which these cameras were fitted were the ordinary achromatic meniscus ones; and I here give it as my sincere opinion that, for ordinary landscape work, this, if well constructed, is the best class of lens as yet in the market.  Goddard’s compound periscopic is not a bad lens at all, and gives architectural subjects with the liens mathematically straight; but I prefer a single corrected meniscus by the same or any other good maker.

            We got a few good views about Kirkwall, after which we proceeded to a small town on the same island, called Stromness.  In the vicinity of this town may be taken some of the finest views in the north of Scotland.  Our first visit was to some of the quarries rendered classical by the researches of the late Hugh Miller, after which we began to look out for “subjects.”  To this we devoted the first day after our arrival, noting the exact spot where the camera was to be placed and the particular hour at which the light falls with most effect on the object to be depicted.  There are no old buildings of any interest in Stromness, but the natural scenery is very grand.  Fearful precipices, with rocky precipitous islands, coves, inlets, lochs, bays, and similar scenery, are all within a short walk from this place.  Here we were fortunate enough to get introduced to Mr. Hay, a lawyer, resident in Stromness, who, possessing an amount of photographic and artistic knowledge with which one does not often meet in such distant regions, was of such service to us that were it not for him we should have had to beat a hasty retreat from that port without a single picture.  The way it happened was this:--By one of those accidents which will happen to photographers, even in spite of the greatest possible care, a small case, which was inadvertently left standing too near the edge of a rock, containing our collodion, nitrate of silver, and, in fact, all our chemicals, suddenly parted company from us, preferring perhaps to try the wet process on its own behalf at the bottom of the sea.  The look of blank despair which was depicted in my friend Munroe’s face at this dire calamity will never be effaced from my memory.  Apparently nothing now remained for us but to pack up our cameras, dismiss photography from our minds, and make the best of our way south again.  It was at this stage that the suggestions of Mr. Hay came to our relief; for, by his assistance, and acting under his advice, we got a complete rig-out of photographic chemicals.  Procuring some eggs, we beat up the whites with five grains of iodide of ammonium to each egg.  At first the procuring of the iodide of ammonium was about to upset us; but by dissolving common iodine in sulphide of ammonium, and crystallising the product, we procured, by this rough mode of proceeding, a salt which in colour and photographic qualities was superior to much that is sold in Edinburgh.  Some silver coins dissolved in aquafortis, of which there is plenty to be had in almost every country town, made a bath solution which, although slightly coloured from the presence of the copper with which the coin was adulterated, produced good pictures not only when new but many months afterwards.  A shoemaker supplied a piece of gutta percha, of which a flat bath was soon made by the assistance of a wooden mould.  Our friend supplied us with acetic acid, which we added to our nitrate of silver bath in no sparing quantity; for experience has taught me that, in working the albumen process, a liberal dose of acetic acid is not at all objectionable.  Having prepared two or three trial plates, which were successfully developed by Mr. Hay, we prepared a stock of plates sufficient to last us for the remainder of our stay in the north, intending to develop them on our return to the south.  This course we adhered to; and, notwithstanding the inconvenience of carrying about a great stock of glass plates, I believe it will prove to be one of the simplest.  Albumen negatives possess a sharpness, an evenness of texture, a brilliancy, and even a softness, if properly exposed and developed, which will contrast favourably with any dry collodion process extant; while the cheapness of the albumen is in its favour—albumen costing about one penny per ounce.  There is no preservative solution required in the albumen process:  simple washing with plenty of clean water will suffice.  In developing, no weakness or raising of the film need be dreaded:  it is as hard almost as the glass itself.  Its only objection is the weight of the glass.

            We stayed in Orkney for two weeks, during which time we visited several of the islands, of which there are upwards of sixty, only half that number being inhabited.  In all cases the inhabitants were kind and hospitable, and the reminiscences of our photographic trip to the Orkney Islands are of the most pleasing character.

 

1861:  BJP Aug. 1, vol. VIII # 147, p. 272-273:

            Stereographs.  North Wales and Chester Illustrated, by Francis Bedford.  (Catherall and Prichard, Eastgate Row, Chester.)

            We resume our notice of this very attractive series, as promised at page 368 of our seventh volume; and, first of all, we would direct attention to one subject of a class in which Mr. Bedford has been peculiarly happy in his illustrations—we mean architectural interiors.  The slide before us represents The Nave of Chester Cathedral—a subject possessing no claims for admiration on account of ornamentation or sculpture of any kind, as it consists merely of a single series of Gothic arches of gthe plainest type; yet from the treatment an artistic value has been attained.  We may remark, en passant, that the east window, which though partially obscured by the organ is visible in the distance, is entirely free from the hazy obscurity sometimes so objectionably present in photographic representations of interiors.  The bare expanse of the floor is relieved by the solitary figure of a lady, while the bright sunbeams, streaming in from the range of clerestory windows, not only impart an effect of atmosphere truly exquisite, but, falling on the ground behind the figure, light up the former, and give that prominence to the latter which, without the patch of light, would have lost half its value.  The delicate half-tones of the shaded side are nicely varied, though harmonious.

            Until we put it into the stereoscope we were not a little puzzled at the appearance presented by the sky (!) in a view at Pont-y-Pair, Bettws-y-Coed, from near the Falls [#149?]; but then the mystery was immediately cleared up, for the sky proved to be no sky, but a background of trees, in a dense mass, against the distant hill-side.  Three arches of a bridge, the central one of considerable span, across a natural chasm in the rock, form the central features of the composition.  In the left and middle foreground the branches of a sturdy oak break up the outline, and the figure of a man leaning over the parapet of the bridge imparts an air of life to the subject.

            In the Penrhyn Slate Quarries, near Bangor [#69?], does not seem a very attractive title; but, though a mere quarry, it is singularly artistic.  The broken masses of slate catching the diffused light at all sorts of angles, reflect those soft pearly tones which shed such an air of repose, while the extreme upper part of the quarry is lit up by the departing beams of the setting sun.  In the foreground is a miner’s hut (little better than a hole in the rock), and just above it a man is standing, with his back to the spectator.

            As an extraordinary contrast to the last-named slide, we may cite an evening scene On the Ellesmere Canal, Llantisilio, near Llangollen.  This is one of those quiet scenes by which we are always particularly attracted.  At the spot delineated the canal winds gracefully round the base of a mound, its sloping banks clothed with vegetation.  A precipitous path, protected by a light railing, leads to the top of the mound, which is crowned by a wide spreading elm tree.  From the side of the mound juts out a graceful silver birch tree, overhanging the water, and on the opposite bank are three magnificent larches.  A rough rustic bridge gives access to the mound, and the vista permits a view of the distant hills which, with the bridge, are reflected in the water.

            There are few more interesting objects regarded in the light of picturesque adjuncts to a landscape than a water-mill, and that at Trefriw, North Wales (No. 168) [same as “# 916 – PF has both], forms no exception to the rule; indeed, with one exception, we have nothing but commendation to apply to the slide before us, the exception being the chalkiness of the falling water, which in consequence of this defect loses both transparency and liquidity of appearance.  The distant wooded hills, the little white cottage, the mill works, the wheel at rest and in shadow, the fine clusters of trees and shrubs on the banks of the stream, which is also strewn with huge rounded calcareous rocks, form a highly pleasing combination.

            Of all the locally characteristic illustrations, perhaps The Pass of Aberglaslyn, from the Bridge [#2169?], is one most deserving of notice.  The graceful curve of the road in the valley, the huge bare precipitous slate rocks on the right brightly illuminated, the dense mass of coniferous vegetation clothing the conical hill on the left, contrast well with the rugged bare rocks opposite both in tone and character; for though the wooded hill is in shadow, every tree, nay every spray, is visibly defined, yet there is no frittering away of effect by the detail, but all is broad and massive in grandeur.  There is a little to be desired in the way of atmosphere, and the outline of the hill is a little too hard; but for all that this slide will be a favourite.

            Wolf’s Castle, near Beddgelert [#193?], is the name given to a huge rock supposed to contain subterranean apartments once haunted by a robber chief called “The Wolf.”  Though there is but little to interest us in the rock itself beyond the legend attached to it, its “surroundings” make it one of the most picturesque of the whole series.  Here is a beautifully-wooded stream, with sinuous course and gentle falls.  In this slide there is plenty of atmosphere, and a distant hill recedes most naturally from the view.  The water, it is true, is a trifle too solid in thqat part where the foam rises from the force of the fall; but, nevertheless, this also is a charming slide.

            At Pont-y-Pant, in the Lledr Valley [#157?], we have a turbulent stream, split into several streamlets by the sharp cutting rocks, and again and again “anastomosing,” as the anatomists phrase it; but here, though the whole course of the stream is one mass of white foam, there is a foaminess of aspect about it which leaves the observer in no doubt about its nature, though we by no means intend to assert that it is perfect.  The bridge consists but of a series of rough planks laid across from pier to pier, built of still rougher stones piled together apparently without cement of any kind.

            There are some fine effects of Chiaroscuro in No. 186, Pont Aberglaslyn, Beddgelert [PF has ?], and in No. 130, Capel Curig, Moel Siabud, from the hotel gardens [PF has]; but in some parts of both pictures the contrasts between the lights and shades are too marked for stereoscopic slides, though for this same reason they look more brilliant as single pictures.  This is no doubt owing to a little overdevelopment; but we believe that, for stereographs, Mr. Bedford intends using an iron developer on a future occasion, when we may expect the slight defects, as we must regard them in this class of picture, will be avoided.  Mr. Bedford is not one to rest satisfied with anything short of the best; and his exquisite neatness of style adds an additional charm to the subjects he delineates, however beautiful they are naturally.  Long may he continue to delight us with his productions!

 

1861:  BJP Aug. 1, vol. VIII # 147, p. 273-274:

            Exhibition.  Birmingham Photographic Society’s Exhibition (Communicated.)

            Having in our last departed from the numerical order of the catalogue to notice the productions of Mr. Breese, we must somewhat retrace our steps; but before doing so we cannot regrain from remarking that, after a careful perusal of the works of Mudd, Bedford, Vernon Heath, and others, we are more than ever induced to maintain a decided stand against the ignominy so willfully case upon our art by the Royal Commissioners for the International Exhibition of 1862.  That such works, exhibiting as they do an amount of artistic perception rarely met with in the works of either ancient or modern artists, should be degraded to the position assigned is surely a stretch of official importance which cannot be too strongly deprecated.  But from such unpleasant feelings we revert to our subject.

            Next in order to the solar pictures are the contributions of Mr. Mudd, of Manchester, eighteen in number; and amongst them Coniston Falls, which is not by any means so good a copy as we have seen, being rather over-printed and somewhat flat in the distance.  The picture is too well known to require particular descriptin; but its exquisite texture, the light and shade of the weatherworn rocks in the foreground, and the admirable contrast thereby afforded both to the mid and extreme distance, produce a picture almost perfect in its entirety.  To our taste the effect is somewhat marred by the water, which, as in other of Mr. Mudd’s productions, is not so sparklingly limpid as we hope ere long to obtain it; but the attempt was a bold one, and any defect must be referred to the art itself rather than to the artist.  In the Study of Rocks, Perthshire, and High Force Falls of the Tees, the granulation of the rocks is perfectly rendered; but in the former the water is muddy, and in the latter woolly, but accompanied by an exquisite mistiness at the base of the falls which renders the picture a charming one.  The gem of the collection is the River Greta, Rokeby Park, though the water is too decidedly black and white; but, as a really artistic production, and exhibiting Mr. Mudd’s consummate taste in selecting a proper point of view, we prefer the Bridge over the Greta, Rokeby Park—a scene which can hardly fail in the hands of an appreciative photographer in stamping out for him an artistic position.  The same may be said of Goodrich Castle, which exhibits a minute detail with general breadth of effect and a depth of focus almost unequalled in any of the others.  The Entrance to Bolton Woods is perhaps the most picturesque of the group, apart from its many other good qualities.  The Mill Stream is a careful study, which should be placed under the same category as Goodrich Castle.  Goodrich Court and the River Wye, from its extraordinary aerial effect, and the exquisite gradation of distance rendered by the meandering of the river, with the natural misty atmosphere arising therefrom, has nearly all the essentials of a good picture; but the finest effect of aerial perspective is to be found in Watsdale, Cumberland, a picture combining great depth of focus and photographic effect with an evident consideration on the part of the artist in selecting his point of view.  On the Calder, Cumberland, should form a companion to the Bridge over the Greta, but the artistic effect is totally marred by the perpendicular trunk of a tree, entirely denuded of branches or foliage, which cuts the picture in two, almost centrally; and the reflections, particularly of the left hand bank in the water, and the shadows upon the trunks of the trees, are opaque, giving an appearance of spottiness.  The Pass of Killiecrankie, Perthshire, has the effect of atmosphere excellently rendered.  Watsdale Head, Cumberland, is not pleasing in general effect, though the bridge is picturesque.  Raglan Castle and Moat is flat, a tendency to which may also be observed in many of the others.  The Old Moat, Chorley Hall, Cheshire, as also the View at Worsley, near Manchester, are not transparent in the shadows, and the View at Worsley is very yellow.  The whole are by the collodio-albumen process.

            Although the comparison is obviously unfair, yet we cannot but think that Mr. Mudd will ere long be enabled to obtain that sparkling freshness of motion and liquid transparency in water which Mr. Breese has attained in his Powerscourt Waterfall.  The want of such is so far the only drawback to his productions, which, as delineations of the external beauties of nature, are almost unsurpassed in the Exhibition, and tend to placer Mr. Mudd in the enviable position of one of the leading photographic artists of the day.

            Mr. Francis Bedford, of London, contributes a collection of twenty-seven pictures, carefully and judiciously selected.  The whole are extraordinarily meritorious productions, thoroughly artistic in their character, and peculiarly delicate in their gradation, from the highest light to the most intense shadow.  The Excavations at Wroxeter (Uriconium) [PF has] are more interesting from their archæological associations than as photographs.  The Interior, Looking East, and the West End of Valle Crucis Abbey, are somewhat deficient in that transparency of shadow which many of the others possess in so remarkable a degree, though in other respects good.  The North Porch of St. Mary Redcliffe Church is unsurpassable as an architectural subject, exquisite in detail, and the effect of the new work much enhanced by the old buildings being rendered quite subsidiary.  A Study from Nature is treated in a most artistic manner, and such a subject as any painter might luxuriate in, though it is somewhat under-exposed.  To the Sculpture on the North West Angle of Wells Cathedral, we could not award higher praise than that it is an architectural picture.  The Chantry in the Nave of Wells Cathedral exhibits careful artistic perception, full of detail, soft yet vigorous.  A few occasional rays of light fall upon and illuminate the delicate carving of the screen, light up the arch mouldings, and thereby relieve them from the distance; in fact, just as a painter would employ the means at his disposal to produce the effect of relief, Mr. Bedford has accomplished b y natural means, guided by the perceptive powers of the artist.  In the South Aisle of the Nave of Wells Cathedral a similar effect has been produced, as also in the View in the Ladye Chapel, Wells Cathedral.  In the former the effect of distance is finely rendered, and the reflected lights are carefully arranged:  the female figure is placed in the proper position, but we think it would have been better if, as in the Interior of Valle Crucis Abbey, the back had been turned instead of the face.  In the latter the distance is well illuminated; but to obtain this the light in the centre of the picture is too strong, and, as contrasted with the dark cluster of shafts supporting the arch, gives a somewhat chalky effect, though the entire picture is stereoscopic in a very high degree.  The Western Screen of Exeter Cathedral is an exquisite photograph and a picture.  The North Porch of Wells Cathedral shows great recedence:  the interior is well illuminated, and the reflected lights artistically managed.  The South-West Door of Exeter Cathedral is an extraordinary photograph.  An accidental ray lights up in a marvelous manner the internal walls; a flood of light tips the salient points of the statuary, rendering the shadows deeper, though the half-tone is carefully preserved; and the granulation of the stone, together with the crumbling effect of the ravages of time upon it, are beautifully indicated.  In Exeter Cathedral from the South-East the light is rather strong, rendering the shadows too intense, especially from the ivy surmounting the buildings to the left.  Wells Cathedral,  the North-east Angle, and Portion of the West Front, are architectural photographs, perfect in every respect, though the Portion of the Western Screen of Exeter Cathedral is not so pleasing as the Western Screen of the same cathedral, from the plane of the object being nearly parallel to the plane of delineation.  The Vestibule of the Chapter House, Bristol Cathedral, renders in a wonderful manner the effect of reflected light and aerial internal perspective:  the detail of the deepest shadows is clearly indicated, and the peculiarly luminous effect of sunlight fully attained.  At Ilfracombe, North Devon, is a geological photography, exquisite in texture.  At Lynmouth, North Devon, is a fine picture, but somewhat flat and marred by the straight line of a rope running diagonally across it from the lower corner to the yard of a mast nearly in the centre of the picture.  In the Valley of the West Lynn, Devon, is somewhat foggy.  On the West Lynn, North Devon, has more the appearance of a carefully-finished drawing than a photograph, though the water is not limpid.  Two views of Cheddar Cliffs, Somerset, are valuable in a geological point of view, and the position of the figures well chosen; but one, a ravine, ahs too much top light.  The Beach at Lynmouth, North Devon, weed-grown boulders, in tame; but Rocks on the Beach at Lynmouth, a similar picture, is much more lively.

            Mr. Bedford’s interiors are far the best of his productions:  the reflected light in all cases is soft, and a sound artistic judgment has been displayed by him in the selection of his subjects.  Of their photographic merits little need be said:  with the exceptions previously named, they are all high-class productions, rich, fresh, and brilliant in tone, full of detail, and especially noticeable from the exquisite transparency even of the most intense shadows—a quality which few other pictures exhibited possess, if we except those by Mr. Vernon Heath; and, in contradistinction to the works of Mr. Mudd, they are all by the collodion process.

[Continued in issue # 148, Aug. 15, p. 293]

 

1861:  BJP Aug. 15, vol. VIII # 148, p. iv:

            Ads:

            Photographic Printing.  W. Woodward give s his personal attention to all Prints sent from his Establishment.  Permanent and perfect copies guaranteed.  Terms on application.  The PRIZE STEREOGRAPH free by post for twelve stamps.  Long Row, Nottingham.

 

1861:  BJP Aug. 15, vol. VIII #148, p. 287:

            Collodion Should Be Acid, and with a Large Proportion of Iodine.* (* From La Lumiere) By M. Mc-A Gaudin.  [includes reference to stereos by Ferrier and Soulier]

            [Most of this article is technical in nature with the exception of the following reference]

            …To-day M. Ferrier pretends that there has been a misprint; that he said to add the formic acid to the developer, and not to the silver bath.  As for me, I have only read the number of the Bulletin de la Societé Française de Photographic for the month of May, which runs thus:--

            ‘MM. Ferrier (father and son) and Soulier presented the Society with several quite instantaneous stereoscopic views, representing different views of Paris, with people, horses, and vehicles in motion.  M. Ferrier remarks the difference which exists between some proofs of this kind and those for instance in which are represented the waves of the sea, which can accomplish a certain movement while the impression is being taken without losing its distinctness.  On the contrary, in the present case, in order that the proof may be clear the impression must be strictly instantaneous.  The only particular that M. Ferrier had to notice in his preparation consisted in the addition of a small quantity of formic acid to the silver bath.’

 

1861:  BJP Aug. 15, vol. VIII #148, p. 287-289:

            Palestine in 1860; Or, A Photographer’s Journal of a Visit to Jerusalem.  By John Cramb.  No. VIII.

            The last number of my notes closed leaving me on the summit of Olivet, taking my first views of Jerusalem from that height; and I promised in my next to say a little of the view then stretched out before us, and, at the same time, to give a picture of my camera arrangement and a description of it.  The latter part of my promise I fulfilled in the last number of the Journal; the former I shall do now, and shall describe e what is seen from the Mount of Olives, looking towards Jerusalem.

            What is actually to be seen now I have delineated by the unmatched powers of our wizard-like art, in a manner that no tongue or pen ever could approach—as no eye ever saw, not in fifty visits; for it is a fact that our artificial chemically-prepared retina, with its brass-bound eyes, sees more, and retains a more minute, more comprehensive, and more perfect picture of what is presented to it, than ever the finest and best-trained human organisation for the same purpose did, even with hours of examination (exposure) and numerous trials.  Our picture, if creditably done, satisfies the educated eye of the historian, the archæologist, the man skilled in the gigantic marvels of geology or the minute wonders of botanical science.  But why boast of the powers of our art here?  My readers do not require me to tell them what photography can do.  And it has, no doubt, struck every one of them how much more they could see in a good photograph than they really saw of the place it represents with their own visual organs.  Is not that an important consideration in treating of the relative merits of the productions of the artist-photographer and the artist-painter?  David Roberts might depict as he can—some would say as he only can—all he saw; but how much was there he did not perceive!  There is no use—the reader may remark—praising my photograph of Jerusalem, which I am not to present to them, and neglecting to give the description which I promised, and which I ought to have had half finished by this time.

            The Jerusalem of two thousand years ago had then reached its maximum ion extent and in population.  According to Josephus, it stood on four distinctly-marked eminences.  It was, as it now is, somewhat of a quandrangular (sic) form, and, as now, was enclosed by walls.  Zion was the highest and largest of these elevations on the north and west, on which the city at first alone was built.  Moriah directly to the east of that on which the temple stood.  To the north of Zion, and separated from it by the Tyropœon Valley, stood Acra; and to the east of that, and north of Moriah, was Bezetha, or the new city.  The topography of Jerusalem is one of the vexed questions of which that city furnishes so ample a crop; and the above brief outline of it contains matter for filling more ponderous tomes than there are lines in it.  Suppose it pretty correct, nevertheless.  The modern city covers part of each of these four more or less separated eminences.  The modern walls are in a very good state of preservation, and serve as an ample protection from the lawless part of the inhabitants of the country, but would be of no avail if the artillery of western nations was opposed to them, not to speak of Sir William Armstrong’s rifled irresistibles.  These walls, as they now remain, were erected some three hundred years ago; but many parts bear undoubted evidence of Jewish origin.  Parts here and there, which have escaped the destruction which has do often left the city as a heap of rubbish, stand out as it were to proclaim to whom it of right belongs.

            From Olivet, as I have said, the whole city lies map-like before the spectator, forming a really fine picture:  if the scriptural and historical associations be taken into account it is, perhaps the grandest view in the world.  Just beyond those hills which bound the view is Bethlehem, where Christ was born.  Nearer to the left, densely covered with houses, is Zion, worthily deserving, my readers would think the eulogy of the Psalmist:--“Beautiful for situation:  the joy of the whole earth is Mount Zion.”  That is the Jews’ quarter of modern Jerusalem, and it encloses as much squalid poverty as the same space ever did any where at any time.  Nearer, in the same line, is Moriah, on which once stood the Temple.  Its site is now occupied by what is called the Mosque of Omar.  How much or how little of it is truly either of Omar or his followers’ erecting is doubtful.  There is, however, no doubt that the bigoted followers of the false prophet have possession of it, nor is there any doubt that they grudge even the privilege of looking at it from some distance.  Since 1854 Moslem intolerance has had to bear with now and then seeing Christians pass hurriedly in and out of this holy place—partly through the influence of western diplomacy, but mostly by the power of Frank gold.  Between the spectator and the city is the Valley of Jehoshaphat.  In the bottom of it—as it were at our feet—enclosed by an unsightly stone wall, are those same olive trees which eighteen hundred years ago were the silent witnesses of Our Lord’s anguish on that dark night of sorrow.  On the right, in the middle of the houses, now rises a broad flat dome, said to cover the Sepulchre of our Saviour.  Perhaps it does.  Sad to think how much blood has been spilt among His nominal disciples fighting for the guardianship of this shrine!

            But it were a truly hopeless task even to name the objects of interest in the view, far less to mention the associations connected with them.  The spectator has but to think that his feet rests on Olivet, the mount of the ascension; that before him lies all that now remains of one of the earliest centres of civilisation, the capital of one of the oldest and most remarkable peoples—if not the birth-place, the cradle of our religion—Jerusalem, the city of our Lord.

            My views turned out remarkable successes, on development, and I went to bed in a high state of excitement about the perfect pictures I had been able, at my first trial, to produce.  Alas! For the uncertainty of everything human!  And photography is no exception to the all-pervading rule long ago pronounced by the wise man:  have we not all experienced that it is vexation of spirit?  In plain language, I found my beautiful views had, in drying, cracked in a thousand places.  I have tried to save them from further injury by varnishing, but the cure aggravated the disease:  those not uselessly split before, were quite so now.  This was a trouble I had before known nothing of.  What cause it, and how I was to avoid or cure it, seemed at first quite a mystery to me.  The only thing I felt quite decided on was, that whatever it was that produced it, I must overcome the difficulty.  And this I did, and very simply; but that will come in better in connexion with my visit to Bethlehem, which I shall give in my next.

            About this time an incident occurred to me which illustrates a phase of the social character of the people, and also shows the nature of the internal government of the country; and which, though in point of time it is a little out of the order of my narrative, I prefer to give an account of now.  I have before mentioned that Max’s hotel overlooked the Via Dolorosa:  I should rather have said a part of that sorrowful way.  I had instructions to take a picture of it.  The path which bears this name, from the all of Judgment to the traditional site of the Crucifixion, is a long and crooked street, turning more than once at a right angle, or nearly so.  A Latin Church publisher would have demanded at least as many views as there are “stations,” according to the traditions of that church.  I was to have but one.  After a careful survey of all the possible and convenient points of view I determined that the view from the roof of my hotel was the best, taking in, as it did, the Ecce Homo Arch and the undoubted site of the Hall of Judgment, and just overlooking the traditional site of the house of Dives.  One afternoon early in June—the 5^th I think—I had some sensitive plates which I felt too lazy to go out to use.  Had I been half as Oriental as I should have been by this time I ought to have willingly enjoyed the rest and quiet which I had fairly, I thought, earned by a very good morning’s work.  My western habit of activity soon suggested that if I was not to go out I might, however, take a few views from the house-top, and thus get at least this Via Dolorosa view done which I had to do sometime, and enjoy a rest at the same time:  Lord Brougham’s kind of rest it was to be, to be sure,--change of labour.  My dragoman was sick at the time.  We had just returned from a visit to the Dead Sea and the Jordan, and the Plain of Jericho had been too hot for him:  poor fellow, he was very ill.  I had no assistance at hand to carry my camera and stand to the house-top for me.  All the hotel people were out but an old woman, the cook.  Ferraj, my jet black Nubian, who generally carried my traps, I had dismissed for the day.  I had got several plates exposed, and was in my own quiet undemonstrative way enjoying the evening breeze and the deeply interesting view which lay before me, when my attention was drawn to some strangers in the court below.  One I saw was a rather good-looking and very handsomely-dressed young Nubian, accompanied by two young Arabs.  I at first supposed that they belonged to the suite of some distinguished Frank visitor or pilgrim who proposed honouring Max’s with his patronage.  Soon I found the new comers meant to honour me with a nearer acquaintance.  As they approached the part of the house-top on which I had fixed my camera I saw they seemed excited.  The black man now seemed to address me; but as my interpreter was below out of the reach of his or my voice, and I knew scarcely as much Arabic as could obtain for me bread and water from those who were very willing to understand me, this appeal, demand, or remonstrance was utterly lost upon me.  My black visitor soon saw that, and appeared about to speak to me in a more unmisunderstandable way.  He was apparently just about to toss me and my camera into the yard below when I, by the best exhibition of the universal language of signs I could command, gave him to understand I would save him the trouble by carrying my property and myself as quickly as possible, consistent with the safety of both, to that part of the house to which he seemed desirous they should be removed.  My feelings, I must confess, unequally matched as I certainly was, would have induced me to inquire at once into his sable majesty’s right thus so imperiously to issue his commands.  A moment’s reflection, however, convinced me that whoever he was, and whether right or wrong in his demand, my best course then was perfect submission.  I need not say that I undid all my screws in double-quick time, under the terror of every moment seeing the whole of my apparatus dashed into a thousand pieces, my black friend and his companions became so outrageous.  Having got all into a transportable state, I breathed more freely.  I had learned sufficient of the Oriental manner to be aware that if I could only afford to seem careless, though my intruders knocked all my property over the house—and, above all, if I could only outdo them in making a noise, I was perfectly safe.  I deposited my cameras, well strapped together, on the centre of the house-top, and, throwing down the stand carelessly near them, I took up my umbrella and threw it right over to the court below, with a band as if I meant to send the rest after.  That had a good effect.  The invading force were not sure of me.  I lifted the bundle of cameras in my arms and retreated by the shortest route to my rooms below, leaving the enemy in possession of the field and my tripod.  I had barely got my cameras and lenses into a safe place ere my uninvited guests made their appearance in my rooms.  I made signs indicative that they were to leave, and probably said so in my vernacular.  I tried the whole of the Arabic I could muster that at all bore on the position of parties.  All was of no avail.  My assailants became now more outrageous, unfortunately when I was less likely to bear their unprovoked injuries.  The black man now lifted his hand to strike me.  He had previously pushed me about, and tried to kick me.  I quietly retired to my room, and produced my revolver—innocent of powder and shot.  Its effect was magical:  my assailants ran instantly, never turning till outside the house, where they were followed by the old cook, who had been trembling outside my rooms.  She locked the door as the intruders escaped.  They were, however, no sooner out of the house than they seemed equally anxious to get in again.  They commenced knocking at the outer door, and soon collected a crowd of sympathizers, who joined in heaping on me such imprecations as only an Oriental can conceive and as only an eastern language can, I believe, adequately express.  It is no curse at all that does not include one’s father and mother and all other relations back to three or four generations, and, of course, taking in one’s children.  Poor innocents!—a bachelor’s children! they won’t feel even an Ishmaelite’s curse.  A pretty kettle of fish this! I thought.  Here I am nearly alone, surrounded on the outside of a thin wall by an infuriated Moslem mob!  What am I to do?  Fortunately there were two doors to the house, and it turned out that Mrs. Max had had a young Jewess sewing in the house, and that the old cook had dispatched her at an early period of the row, by the other door, for the hotel keeper, and such other help as would be necessary.  He soon arrived, and with him an officer of a kind of military police of the Pasha.  There was a tremendous noise.  I was told that the black man demanded that I should be taken to prison.  Of course I did not relish that; but told Mr. Max to tell them that I had nothing to do either with the Pasha or his soldiers, but that, if they had any complaint to make against me, they could all follow me to the British Consulate, where I would now go to enter my complaint against the black man and his confederates.  The officer at once agreed to this course:  so to the Consulate we all repaired—a very doubtful procedure, under the circumstances, I now think.  As it turned out all went well, but it might easily have been otherwise.  I was known to a number of the idlers in the quarter, and it appeared that either by myself or through the talismanic medals bearing Her Majesty’s effigy, which I occasionally distributed among them for service done, I had made a favourable impression on them.  When I appeared outside on the way to the Consul’s I was recognised by these, and allowed to pass on unmolested by all.

            Arrived at the Consulate I was sorry to find the Consul had gone to Jaffa, and that there was no one but the Chancellor.  As soon as an approach to silence could be obtained, I stated my case, as I have detailed already.  My sable opponent stated his charge—or rather the officer did for him—and now, for the first time, I learned what all the noise was about.  There could not be so much mischief without a woman being in it.  Itg appeared, from the statement now made, that Max’s house-top directly overlooked the harem of the Pasha and the garden attached to it, and that at the time I was taking my view of the Via Dolorosa the ladies of the Governor’s household had retired into the garden to enjoy the invigorating evening air.  The ladies supposed I was spying at their beautiful faces, and, no doubt, falling hopelessly in love with their lovely sultanaships.  It Was further stated that the black gentleman who had behaved so heroically was one of those nondescript gentry who attend on the unfortunate daughters of Eve in the East.  His mistress or mistresses—for I never learned if there was one or more, or how many—had ordered him to go and have myself and apparatus removed.  On hearing the charge, the Chancellor began to say that it would be necessary to take the black ennuch [sic] into custody.  No sooner was this uttered than out he ran, leaving us to settle all else as we best could.  I explained at once that I had never seen the ladies of the harem; nor did I know where the garden was.  After the Chancellor had assured me that even if I had known the ladies were there, and had even been, as they supposed, looking at them through a glass, still I had the right to do so.  And again:  that, though I had been breaking the law, forcibly entering the house of one under the protection of a foreign flag was a crime.  I left the office after arranging to go with the officials of the Consulate to the Seraglio next day and make my complaint known to the Pasha.

 

1861:  BJP Aug. 15, vol. VIII # 148, p. 293:

            Exhibition.  Birmingham Photographic Society’s Exhibition. (Communicated.) (Concluded from page 274)

            Mr. Thomas Tyley, of Bristol, contributed twelve pictures, which are not generally good in colour:  the mural tablets and monuments are not to be critically examined as photographs, that in Henbury Church Yard, Gloucestershire, being the best, but much too decided in tone.  The White Sicilian Marble Monument in Arnos Vale Cemetery, Bristol, is deficient in depth of focus; and the effect as a picture is spoiled by the want of background—whether of foliage or otherwise—to the urn surmounting it, which, being of white marble, blends too much with the sky, and the outline is consequently lost.  Of his architectural subjects, St. Mary Redcliffe Church, Bristol, is decidedly the best; but all are flat.  Brislington Church, Somersetshire, shows a want of perception:  the shadows from an adjacent tree, not seen in the view, fall unmeaningly upon the walls of the south aisle, and give an impression of the picture being badly stained.  Winterbourne Church shows a better selection of point of view, but is still flat.  The View at Brislington, Somersetshire, wants transparency in the shadows, and Bristol Cathedral from the South East is also flat.  The Old Tree, Winterbourne, Gloucestershire, is the best of Mr. Tyley’s  productions, though marred by the peculiar colour:  the point of view selected is a good one, as also is the subject.  The whole are from collodion negatives.

            The productions of Messrs. A.H. Wall and Co. are represented only by a small case of carte de visite portraits, a photograph coloured in oil by Mr. A. H. Wall, and a plain copy of the same.  As a coloured portrait that by Mr. Wall is the gem of the Exhibition:  the flesh tints are good, the characteristics of the subject fully maintained, and the photograph strictly adhered to; the only palpable omission—as shown by an inspection of the plain copy—being that a white handkerchief in the breast pocket, but having a tendency to spottiness and thereby detracting from the object itself, has been wisely omitted.  The carte de visite portraits are good in tone, the whites are pure, and abound in exquisite gradation and detail:  they are from bromo-iodised collodion, developed with iron, and intensified with bichloride of mercury and iodine.

            Mr. Vernon Heath, of London, contributes fifteen pictures, but not all equally meritorious.  The Cottage Porch is most sparkling in effect:  the whole is arranged in the most artistic manner, even to subsidiaries—the tone and detail throughout good, the shadows thoroughly transparent; but the picture is marred towards the lower angles by a falling off in the capabilities of the lens.  The reflected light from the fleshy leaves of the shrubs is well rendered, and the leaves themselves full of half-tone, and not of that sickly white which is the usual impression produced in the camera by so many various angles of reflection:  the accidental lights have been well considered, and, as a picture, it is a perfect gem.  The Gardner’s Cottage at Endsleigh, the seat of the Duke of Bedford, is the next in point of quality, but unfortunately a strong breeze has destroyed the otherwise good effect of the foliage.  This is not the case with The Dairy at Endsleigh, in which the foliage is clear.  Both pictures are vignetted with good effect, but in selecting the point of view for the latter Mr. Heath has not exhibited the same good taste as in the others, the dairy buildings being parallel to the plane of the picture, and giving more of a geometrical than perspective elevation.  The View from the Terrace, Endsleigh, is the most pleasing in its general artistic effect, and the distance is well preserved.  Two Views from the Terrace and View from Woodman’s Hill, Endsleigh, are all more or less injured from the effects of the wind upon the foliage; while two views On the Cornish Bank of the Tamar, and two in Daisy Dell, though all thoroughly artistic are obviously over-developed, and the result is a too decided black and white.  One of the views in Daisy Dell is also very much marred by the perpendicular trunk of a tree.  The View from Leigh Wood has rather too much foreground included in the picture, which, being out of focus, produces a disagreeable spotty effect:  the distance is well rendered, and the composition artistic.  The Top of Daisy Dell, Endsleigh, is also a carefully-considered picture, with a fine natural atmospheric effect.  Endsleigh, the Seat of the Duke of Bedford, is picturesque in its arrangement, but the foliage is blurred; and Sudbury Church, Derby, the only really architectural subject Mr. Heath exhibits, is comparatively flat.  The wind appears to have been especially spiteful during Mr. Heath’s stay at Endsleigh, and the otherwise beautiful productions from that district bear too apparently the impress of this the natural and greatest enemy to out-door photography.  The whole are by the collodion process, and show careful manipulation and artistic feeling, having a tendency to represent the delicate refinements of the Art rather than the more vigorous.

 

1861:  BJP Sept. 2, vol. VIII # 149, p. 308-309:

            Stereographs:  Scenes in the Hebrides, &c., photographed by George Wilson, Aberdeen.

            This beautiful series of illustrations, charming alike to those who have and to those who have not visited the picturesque scenes depicted, has been in our possession for some months past; but, owing to press of other matter, has not hitherto received at our hands that attention which the excellence of the productions merits, albeit they were the fruit of labour during last year’s moist summer and still more moist autumn.

            The first which strikes our attention is a singular rocky mountain, of a conical form, called Glarnich, in the Isle of Skye (No. 271).  A more desolate-looking spot it would be difficult to imagine than the scene before us—the conical mountain standing out of the dreary plain strewn with the huge boulders that the rushing waters have carried down its sloping surface almost in straight lines, scratching the same in deep seams radiating from the apex of the pyramid.  The air of solitude is enhanced by the reflection of the upper half of the mountain seen in a lonely pool, the waters of which do not appear to have the slightest ripple—so still it now seems, in marked contrast to the evidences of former storms, raging in fury, which have left their impress on the surrounding objects.

            From this same island there are two views—Quairang (Nos. 263 and 264).  Both of these are scenes of great interest, and, though of a similar character, the last-mentioned possesses the most abundant elements of the picturesque.  Through a huge fissure in the primitive rock the spectator looks down upon that designated “The Needle,” and beyond, on either side, the rock is grotesquely rent and town in roughened fragments, presenting to the eye all the appearance of some populous town built around the base of a sheltering hill.  The comparatively level ground beyond, broken here and there with a patch of water, is suggested rather than depicted; and this is precisely one of those productions that we should like to show to the South Kensington authorities, and others who declare that there is an absence of soul in the photographer’s art.

            Scuir-na-Gillean, from Glen-Sligchan (No. 268.), and a distant view of the same (No. 269).  Both present features of geological rather than of pictorial interest.

            Travelling south, we come to scenes of a totally different character.  What can be a greater contrast to the preceding than The Path to the Well, Tabermory, in the Island of Mull?  A lovely woodland path, high up on the hill-side, winding round the steep acclivity, and well shaded with sturdy oaks with gnarled and knotted stems.  Two bonnie little Scotch lassies, who have thrown themselves upon a bank by the road-side for a gossip, each with her hand upon her water-can, add not a little to the beauty of the subject.

            Tabermory, Island of Mull (No. 255) is a tranquil-looking town, built close to the water’s edge, with wooded hills of gentle slope and small eminence behind.  The foreground is occupied by a framing of ash and fir trees, and the “middle distance” by the little harbour, bearing on its waters a few small vessels.

            The Aros Watervall, near Tabermory (No. 257), though a picturesque scene, is not so cleverly executed as the generality of Mr. Wilson’s productions of this class, the water being less transparent and more woolly than is usual with this clever operator.

            We have several illustrations from the renowned little island of Staffa—that basaltic gem of the ocean.  All are interesting; but perhaps the most so is No.l 16, The Mouth of the Clam Shell Cave.  Certainly, as an artistic subject, this is a fine companion to Fingal’s Cave (No. 17); but, as no description that we could give would convey any real idea thereof, we shall not attempt it.  The two named, together with No. 15, The Colonnade of Basaltic Pillars, should be in every collection.

            From Iona Mr. Wilson was brought away The Ruins of the Cathedral (No. 39), St. Austin’s Cross (No. 258), and Maclean’s Cross (No. 259), of which the last-named is the one possessing most pictorial value.  At the foot of the ancient carved stone cross are seated four lads in true Highland costume.  The crooked roads and rough stone walls, enclosing some fields yielding a scanty pasturage, and in one instance a scanty crop of grain already in sheaves, are backed by the rough farm buildings and still rougher masses of rocky hill-side.

            Amongst the miscellaneous slides are two which deserve special mention, viz., Oban, in Argyllshire, (No. 32a), where, as in Tabermory, the houses are built close down to the water’s edge, under the shelter of the hill; but in this place they form three sides of a quadrangle.  The general aspect of the place reminds us very strongly of Helensburgh, on Loch Long.

            The last we shall mention n the present notice is Ben Nevis, From above Corpach, Inverness-shire, a scene of tranquility and dreamy repose, where the undulating mountain sides, seen across the curve of a bay, are capped with cloudy vapours, and rendered as only Mr. Wilson renders them.

            It has been asserted (whether truly or not we cannot say) that Mr. Wilson has this year gone out with a pair of panoramic lenses.  We trust it may be so, and shall sincerely rejoice if he be successful in their application to such scenes as those we have just been inspecting; for it is especially in this class of subject that the beauty is too frequently marred by the absence of sufficient expanse of view.  It is true that there would be required some modification of our present stereoscopic arrangements to display properly the specimens thus taken; but they would be worth that trouble.  It is also true, alas! That much complication and extra trouble would be incurred in taking such views, especially upon moist collodion, as it would be necessary that two separate plates should be employed for the two pictures, and this involves probably difference in sensitiveness, &c.  We shall, however, look with interest to the close of the present campaign.

 

1861:  BJP Sept. 2, vol. VIII # 149, p. 311-312:

            Exhibition.  The Exhibition of the Photographic Society of Paris, Considered from an English Point of View.  (Communicated.)

            This exhibition is a very important one, not only as regards quantity, but quality.  It contains more than thirteen hundred specimens, produced by one hundred and fifty photographers of all countries, those of France naturally forming the large majority.  About a hundred and twenty of the exhibitors are French, nine or ten are English, while almost every country in Europe is represented by one or more.   Egypt on one hand, and Peru on the other, has each contributed its mite; and the only important country we find totally unrepresented is the United States of America.  The Exhibition occupies a corner of the Palais de l’Industrie, in the Champs Elysees, and, as the present is the season when many Englishmen make trips to Paris, we think it right to notice it somewhat in detail.  There are photographers who touchup their proofs—at least so says rumour—and the jury of admission would almost lead one to imagine that some of the aforesaid had, by mistake of course, attached the word untouched to their productions, for at the back of the title-page of the catalogue we find the following useful hint:--“The jury has rigorously caused to be effaced the word untouched from all proofs which are not completely exempt.”

            The catalogue is printed in alphabetical order; and as the photographs are, as nearly as possible, arranged in the same manner, we think it best to follow in the same course.

            Conspicuous in the room and at the head of the catalogue stands the name of an eminent amateur—the Count Olympe Aguado.  His contributions are remarkable, although not numerous.  They are principally cattle and farm-house or rural views, and several of them are original studies from nature admirably enlarged by the Woodward apparatus.  The portrait of a pet horse or other animal as carefully rendered as are those of  M. Aguado is a very pleasing possession.

            M. Louid Angerer, of Vienna, contributes a large number of excellent portraits, mostly full-length cabinet pictures, which, besides their artistic qualities, derive an additional interest from the celebrity of the originals.  Amongst these are the Imperial lady who is now seeking health in the Island of Corfu, Comte Jean de Waldstein and Comte Schlick, in highly picturesque national costume.  M. Angerer also exhibits an admirable View of Ischl, The Palais Schlick, and the Salon de Diomabad.  If these are not much above the average of Viennese photography the art must have been pretty well studied in Austria.

            Mr. Thomas Annan, of Glasgow, exhibits three very excellent views in Scotland, The Inverness Cascade on the Banks of Loch Lomond, Aberfoyle, and the Sources of the Forth.

            M. Baldus has a panorama of Paris extending to 200˚, which gives an admirable coup d’œil of the renovated city, and especially of the Tuilleries and Louvre.  Some, if not all, of the views of which it is composed have been published, and therefore do not call for anything more than general high commendation.  His views in Dauphiny, Chamounix, and the Mer de Glace also deserve high praise:  they are both solid and brilliant.

            M. Bertsch exhibits five views enlarged by means of his heliographic megascope.  Four of these are in France; the fifth and most remarkable is from one of M. Ferrier’s admirable clichés, and represents the Pavilion of the Court of the Lions of the Alhambra, with all its exquisite enrichments, in a most remarkable manner.

            Mr. R. J. Bingham, who though an Englishman, practices here, seems to have obtained almost a monopoly of the photography of art reproductions, and has one of the most important collections in the Exhibition.  It includes more than fifty gems of modern art.  Some of these beautiful chemical pictures are already well known, such as Meissonier’s Amateurs and Scene in a Cabaret, Horace Vernet;s remarkable little picture, Chien de temps (two soldiers and a dog in a drenching rain), Yvon’s Scenes in the Crimea, Cabanel’s charming Florentine Poet, Ary Scheffer’s Francesca and Paola de Rimini, for which no word of eulogium is needed.  Besides these there are many not yet known to the world, and of which the originals hung but the other day in the biennial Exhibition of Paintings and Sculpture under the same roof, such as Gerome’s Rembandt.  Mr. Bingham also exhibits beautiful photographs of Raphael’s Belle Jardinière, and of the Supper in Canaan and Jesus at the house of Simon, by Paul Veronese, and a small collection of Raphael’s sketches and drawings in the gallery of the Louvre.  In all he exhibits more than sixty specimens, and some of his more recent works prove that he is still improving.  We trust that the London International Exhibition of next year will afford Englishmen the opportunity of seeing this admirable collection with augmentations.

            The works of the brothers Bisson, of this city, are well known to amateurs, and most of our readers will have, doubtless, seen an account in this Journal recently of an ascent of Mont Blanc, by one of these gentlemen, for photographic purposes, and of the difficulties with which he and his companions had to contend.  One of the pictures obtained is here exhibited, and is a very fine specimen, exhibiting the features of the monarch of mountains, which are almost beyond the reach of any other form of art.  Several of M. Bisson’s other productions are akin to this; and, amongst the most remarkable, are the Pic du  Midi, a snow-drift on Mont Blanc, caught in the very midst of its career, and two of the Valley of Chamounix.

            A series of maps, amplified and diminished, executed by M. Bobin, photographer attached to the Bureau of the Minister of War, shows how the French government has made use of the photographic art.  Amongst the rest we find specimens of enlarged maps of Austria and Sardinia, prepared for the late Italian campaign.

            Mr. Blanford Caldesi’s collection of pictures in the National Gallery of London, of the Elgin marbles, and of the gems in Her Majesty’s collection at Buckingham Palace, represent worthily the condition of art-photography in England, and attract great attention here, where most of them and of their originals are but little known to the public, and even to the artistic world at large.

            M. Claudet’s portraits take rank with the first of their class, and he has sent some excellent specimens; but other well-known English photographers should have been represented also.

[Cont. issue #150, Sept. 16, p. 331-332]

 

1861:  BJP Sept. 2, vol. VIII # 149, p. 312:

            [Notice of Rev. Dr. Thomson]

            We are glad to find that an ardent photographer and an old subscriber to this Journal, the Rev. Dr. Thomson, Provost of Queen’s College, Oxford, has been elevated to the see of Gloucester, rendered vacant by the translation of the Right Rev. Dr. Baring to the see of Durham.

 

1861:  BJP Sept. 2, vol. VIII # 149, p. 312:

            [Notice on South Kensington Museum photography]

            We learn that the authorities at the South Kensington Museum have altogether given up photographic printing.  The deplorable waste and quantity of “failures” made by the sappers and miners have been too much even for them.

 

1861:  BJP Sept. 2, vol. VIII # 149, p. 313:

            Photographic Olla Podrida [Miscellany/Hodgepodge]:

            Astro-Photography.   Mr. John A. Whipple, who so successfully photographed Donati’s comet and other heavenly bodies, reports that the actinic power of the comet that unexpectedly made its appearance during July was extremely feeble, and that it was hardly possible to secure an impression on the most sensitive plate.  Compared with the actinic power of the moon, or even fixed stars of the third or fourth magnitude, it was not one thousandth part so active.

            Humbodlt’s Photographs.—At the recent sale in Berlin of Baron Humboldt’s collections, a series of 47 views of scenery and natural objects in Mexico and Venezuela, taken expressly by M. Rosti, in 1857-8, produced 100 thalers (=£15); the portrait of Aimé Bonpland, the naturalist, taken at Buénos-Ayres, and presented to his friend and traveling companion, Humboldt, produced 31 thalers (=£4 13s).  The portrait of the sculptor Rauch, photographs (sic) by Lehmann of the mural paintings of the Galerie des Fêtes in the Hotel de Violle de Paris, and fifty-six views by Legray, likewise produced good prices.

 

 

1861:  BJP Sept. 2, vol. VIII # 149, p. 313:

            Notes of the Month.

            The London season has long been over, and an unruffled calm prevails throughout the world of art.  Exhibitions closed, and streets deserted, the very cab-horses hang their heads and doze, and allow the flies to bite and the sun to burn unheeded.  Artists and photographers are most of them “over the hills and far away,” getting pictures for next season—not without a regardful eye to the enhanced importance of the coming year of 1862.  It is said that the French will be found more formidable rivals than has hitherto been supposed, and that they will come out in great force; and M. Silvy is going to annihilate all others.

            The official correspondence between the Council of the Photographic Society and Her Majesty’s Commissioners having terminated, it behoves photographers to decide upon what course they will pursue—whether to aid in getting up an independent Exhibition, or to exhibit in the building under protest, or to abstain from exhibition at all—as the time for receiving applications for space will expire, we believe, on the 30^th September.

            The Commissioners have,. Also, in accepting the tender of a foreign house for the right of photographing the building up to the 12^th February, 1862 (when a fresh tender will be made), recognised a very questionable principle in such matters.  The invitation for tenders was advertised in the columns of the Times, and the conditions of tender were open for inspection at the Commissioners’ offices, 454, West Strand.  Several eminent London houses tendered not insignificant sums; but a foreign tender—offering not any stated sum, but offering to double the highest tender sent in by any firm whatever—obtained the license.  Such a principle once admitted, and allowed to pass into a precedent, will make it useless for anyone to make estimates for tendering, as it will admit of any degree of modification, and no one would know but every tender might be met by one offering five, or ten, or twenty per cent. Above the highest sent in.  This tender for license being comparatively an unimportant one to the subsequent right of photographing the building in its more advanced state, those who have by this means obtained the license will have superior opportunities of seeing how far it may be politic to offer a large sum for the more important and subsequent license.

            Another result of photographic enterprise is announced in the fact of Messrs. Negretti and Zambra, having connected their several establishments in Cornhill, Regent Street, and Hatton Garden, London, by means of a private telegraphic wire.  The London Stereoscopic Company have also lately completed a telegraphic communication between their establishment in Cheapside and their photographic printing establishment in Surrey.  The enormous demand for cartes de visite has necessitated this instantaneous mode of communication.  The public can now in a case of emergency secure a large number of pictures immediately the want is made known.  As a proof of this, only a few days ago a man who had absconded with an enormous amount of money, but whose negative the company had taken, was known in a short time after nearly all over Europe. The telegraph gave his name and number, and by that night’s post some dozens were ready for the police authorities to send over the world.

            That most offensive phrase, or rather parasitic excrescence, of photography, “shilling-portraiture,” is just now occupying some share of public attention.  Recent cases brought before the police courts have stirred up some of the lowest depths of this filthy cesspool, and the odour emitted is anything but agreeable.  That this particular “walk of art” is one of the most popular refuges for the destitute—destitute morally and intellectually—is too well known to need expatiating upon here.  That the class who practice it are amongst the most degraded of the “fallen” is a fact patent enough.  That they have enough of art to turn the well-deserved popularity of photography to account is not much to be wondered at, when they can be a cheap bait inveigle people into their dens in the first place, and by the exercise of a little legal ruffianism afterwards extract three times the sum expected.  That this is not an occasional thing, but is systematically and regularly practiced, is another well-ascertained fact.  The well-known reluctance of “victims” to seek redress in a public court of justice allows such practices to be daily perpetrated with impunity.  The danger would be much reduced if people would abide by one simple rule, viz., never to enter any place where a doorsman or touter is kept, because no respectable photographer ever employs such an animal.  We should much rejoice to see some hearty, united effort made to put down this abomination.  To no one is the class so offensive and humiliating as to photographers themselves, and it aids more than anything beside to associate photography in the public mind with everything that is low and scampish.   S.T.

 

1861:  BJP Sept.16, vol. VIII # 150, p. 329

            Record of Photographic Inventions. By Samuel Highley, F.G.S., F.C.S., &c  [….general notice to readers omitted]  Profiled Studio Backgrounds.

            We have lately paid a visit to Messrs. Bull’s, of Great Queen Street, Lincoln’s Inn Fields, the paper stainers and painters of theatrical scenery, to inspect a very neat arrangement they have just introduced for the purpose of economizing space, whilst giving the effect of rotundity to those accessories of the photographic glass portrait room which, as usually constructed, occupy much bulk.  In the first place there are backgrounds of various designs, such as landscapes, open French windows looking out on to street vistas, paneling, &c., painted on flat canvas, mounted on rollers fixed against the wall, after the manner of map cases; so that any character of background can be given at the will of the operator or according to the wishes of the sitter, at a minute’s notice.  Besides these, there are a set of “profiled” columns, balustraded pillars, vases or mantle-pieces, bookcases, looking-glasses, which are painted on the flat, with a proper view to perspective, mounted on wood, and cut out in outline, after the manner of set pieces at a theatre/  These are only of the thickness of the wood on which they are mouuted [sic, “mounted”] , and are kept in an upright position by a hinged flap, which shuts flat when the particular piece is not in use to facilitate its being stowed away.  Thus, with a landscape background, a column may be placed on one side, the balustrade in the centre, and a short pillar at the end as a finish, to give an idea of a person standing outside the portico of a romantically-situated country house; or by fixing a vase-piece on the short pillar, and replacing the column of the other pillar with another vase, a garden terrace can be represented; and so a variety of changes can be rung, according to the taste and ingenuity of the photographer.  If the paneled background be drawn down a portion of a profiled mantle-piece can be placed on one side and a profiled bookcase on the other, as side scenes, or the pillar and column may be made to replace either of these, and so on.  Variety may again be effected by the addition of drapery.  We have said that the vases may be fixed on the pillars at will.  These are so placed, in reference to the painting of the top of the pillar, that the vase seems to stand upon it, when depicted in the photograph, and, by an ingenious thought, the painted shadow of the plinth of the vase is attached to the profile, so that it may produce the proper perspective effect when combined with other elements of the set of accessories.  Judgment must be used by the arranger of the “set-piece,” so that the shadow of his model may fall in the same direction as the shadows on the painted background, and that the various parts be so combined as to produce a finished effect; for among the photographic specimens contributed by various purchasers of these “properties,” we noticed some curious blunders, that indicated not only a want of taste, but also a want of common sense on the part of the photographer.  Not only do these profiles possess the advantage of occupying little room in the studio, but they are so light that a child might move them into position; and another consideration is, that they are considerably cheaper than the “built-up” pillars, balustrades, &c., we are as yet acquainted with.  It may also be remarked that when solid models of such accessories are included in the range of a portrait lens, from the various planes being more or less out of focus, the best result is not always produced in the photograph, whilst by Messrs. Bull’s arrangement this difficulty is reduced to a minimum, as all details are in one plane, or nearly so; and judging from various photographs of these models that we have inspected, we are able to say that very satisfactory and artistic results can be thus produced.  We recommend all those who intend fitting up or making additions to their studio to pay a visit to Great Queen Street

 

1861:  BJP Sept. 16, vol. VIII # 150, p. 329

            Exhibitions.  British Association for the Advancement of Science.  By Our Eye-Witness at Manchester.

            A Visit to Manchester differs essentially from a casual sojourn in any other place, and it has the great advantage of being practically useful and being nearly devoid of the mythical haze which often obscures theory.  The photographers of that city, not willing that their abilities should be exhibited merely in the discussion of abstract questions relating to the art, have brought their results forcibly under our notice, in an Exhibition of which we may safely say (backed by the expression of Sir David Brewster on his visit) that it is, in many respects, the finest we have had the good fortune to see.  There is, indeed, so much to admire and so little to detract from the tout ensemble, that we should prefer being permitted to make our remarks from some comprehensive stand-point, as it were, instead of manipulating in a more delicate manner the details which are in so systematic a manner arranged before us.

            The British Association has acted wisely in appointing a Committee to undertake this department which, though personally nearly identical with that of the Photographic Society of Manchester, is nominally entirely different; for though some of the papers give the Society the praise attaching to this Exhibition, the Society is only indirectly entitled to it.  The Committee, however, has performed its duties with great success; for, whether owing to the apathy of photographers, or the small amount of publicity given to the announcements, or the absence of personal solicitations, the eleventh hour arrived without the expected pictures, and they were only obtained by personal and immediate request.  However, these difficulties were got over, and we may at once introduce our readers into the capacious room at the Exchange, where the pictures are exhibited.

            One glaring omission we cannot pass over:  there is no catalogue.  An experienced scribe would have made one while the Exhibition was being arranged; and with the ample funds at its disposal we think the Committee ought not to have overlooked the great convenience of such an auxiliary in the inspection of the varied works.  It is a matter of great difficulty to find out any particular picture, which would not have been the case if there had been a catalogue.  The expenses, of course, are defrayed out of the guarantee fund, and we think greater praise would have been due to the Committee for providing so useful a document.  No one will feel the loss of a complete catalogue more than the Committee themselves when this collection is dispersed, and no permanent record remains of it, but such as the limited means at our command enable us to supply.

            At first sight, the room appears cold and bare; but afterwards we are led to prefer it to the funereal draperies adopted in other places.  The pictures, for the most part not in frames, are simply attached to the light-coloured plastered walls with drawing-pins; and the whole Exhibition is divided according to the process adopted for the negatives, of which we sought in vain for specimens.  In an Exhibition professing to give a general idea of the art nothing should have been wanting.  We also miss apparatus and a variety of other things, of which as yet the public remain in a state of ignorance.  It would have been exceedingly instructive to have had an opportunity of inspecting a collection of chemicals, with the process of manufacture.  Commencing on the right-hand side on entering we begin with collodio-albumen; then its modifications, viz., Petschler and Mann’s process and the hot water process; Dr. Hill Norris’s process, &c.  We then come to the left-hand side of the room, and find specimen still of collodio-albumen, wet collodion, instantaneous pictures, coloured portraits life size and small album portraits, and some highly interesting pictures of persons in a state of mania and convalescence; also prints by the electric light, and then conclude the circuit of the room with specimens of the earliest style—old masters, in fact, in calotype—a valuable scrap-book of which lies on one of the tables, where are also some early daguerreotypes, lent by Mr. Sidebotham.  On screens are also arranged examples of Turner’s Liber Studiorum, some fine copies of engravings and maps, together with a picture of the solar spectrum, and a large collection of Mr. Dancer’s microscopioc photographs.  Mr. Norton’s pneumatic plate-holder and his albumen-beater are also in the room, together with Mr. Sutton’s panoramic camera and lens.

            We have preferred to make the circuit of the room in the reverse order, which is, indeed, the most natural, as most persons are attracted to the right on entering by Mr. Buxton’s beautiful Egyptian views, which are doubly interesting as having been prepared in Manchester and exposed on the banks of the Nile.  Manchester men ramble, and are to be found everywhere; and here is proof demonstrative of the fact—nay, the “very stones prate of their whereabouts.”  We are much inclined to prefer these views to those by Mr. Frith, although some painting out of skies has not escaped our detection.  In one of these the sunbeams streaming through an open colonnade is given in a manner we never before saw equaled.

            Mr. Sidebotham exhibits pictures of mark in nearly every department.  His varied success is very remarkable, and shows how much may be done by careful manipulation.

            Mr. Robinson is the only contributor of composition pictures, of which he sends three.  The small ones, particularly that called The Top of the Hill, are more to our likingt than the more ambitious one, The Lady of Shalott, which we think is sadly wanting in poetic grace.  This is not the lady for whom the “knights came riding two and two.”

            Mr. Clarke, of Hayfield, is a worthy compeer of Mr. Mudd, but in artistic feeling is rather deficient.  We do not like to see gables unnecessarily obtruding themselves on our attention; but his prints are fine specimens of toning (with phosphate of soda, we think).

            Mr. Wardley, as usual, exhibits many specimens of high excellence, which we must allude to more fully in another notice.

            Mr. Mudd claims special attention for the large number of his very beautiful specimens, and it would be almost invidious to select any of them as being superior to the rest.

            The Petschler and Mann process must not be judged of by the specimens exhibited.  They have the worst light in the room, and are not sufficiently bright in the printing to suit our taste.  We have omitted to mention some stereoscopic pictures in their neighbourhood, some of which, by Mr. Underwood, are very good indeed; and those by Mr. Wilson are in that gentleman’s usual style of excellence.  Mr. Cottam deserves a word of praise for the industry he seems to have employed, which is apparent from the variety of subjects he shows in a large frame containing forty subjects, mostly by Mr. Parry’s hot water process, of which process there are also some specimens by Mr. Young and transparencies by Mr. Parry.

            The tannin process is represented by two pictures, of which we cannot say much in praise.

            Mr. Mann exhibits three oxymel pictures, and in this, as well as in collodio-albumen, has nearly attained perfection.

            There are also specimens of Rev. L. Sissons’ preservative process.

            Mr. Fenton’s contributions are not quite worthy of that high reputation which he has obtained.  There is also an example of a print obtained from a negative by Mr. Sutton’s panoramic lens, about which we cannot say much at present.

            Mr. Vernon Heath contributes four wet collodion pictures, which are excellent in their way.

            The waxed-paper process is well represented by Messrs. Hooper and Sheard; but, though they succeed very well, the process will, we think, not compare with others better established.  The range of subjects suitable for it is limited in extent.

]           Mr. Albin shows some wet collodion pictures, which are much admired.  He employes Mr. Alfieri’s camera campestral.

            In portraits Mr. Brothers, of course, is conspicuous, particularly in his large group of the 84^th Regiment, which we had the pleasure of noticing some time since.  He also shows some pictures finished in oil of high merit as regards the working up, but somewhat short of that degree of artistic feeling which characgterised some of the old miniature paintings.

            Messrs. Smyth and Blanchard send some life-size portraits in oil, enlarged by the solar camera.

            Some prints by Way’s electric light ought not to be passed over, but we fear the experiment is too costly to come into general practice.

            Mr. Hering’s cartes de visite are remarkable for the ease and variety of pose which they exhibit; and Mr. Mayall’s Lord Derby and Lord Brougham are deservedly favourites.

            There is a large collection of early calotype portraits of great value, by Messrs. D. O. Hill and Adamson.

            Mr. Hering’s facsimile of  engravings are of unusual beauty, and many would prefer to possess them rather than the originals if they could only be assured of their permanence, in which we as photographers have every faith.

            Mr. Tracy sends enlarged pictures of microscopic objects, and near them are some rare photographic curiosities—printing without silver on nitrate of uranium, paper developed by ferro-cyanide of potassium, sulphate of manganese paper, &c., and printing in colours by various metallic salts, by Mr. Mercer.

            Sir H. James’s photozincography is illustrated by reductions of ordnance maps and the facsimile.

            But the short time before “going to press” will not allow our doing more than scant justice to this highly interesting and instructive Exhibition, to which we must refer in another paper.  Suffice it to say that we have derived great gratification in our visit to the metropolis of the cotton manufacture in every way.

[Cont. in issue #151, Oct. 1, p. 344-347]

 

1861:  BJP Sept. 16, vol. VIII # 150, p. 331-332:  [cont. from issue #149, p. 311-312]

            Exhibition.  The Exhibition of the Photographic Society of Paris, Considered from an English Point of View.  (Communicated.)   Resuming our notes on this important Exhibition at the point where we left off, we come to the name of Gargier.  This gentleman exhibits some specimens produced by him with carbon by a process of his own invention, and others are also exhibited by M. Chavaret.  The carbonic photographs which we have already referred to in our Journal are generally attributed to the inventive genius of M. Poitevin, and some excellent specimens, by his method, are exhibited by the inventor himself, and also by M. Lemercier, the eminent lithographer here.  We know nothing of the claims of M. Fargier, which specimens were presented to the Society here in October last; but this is certain, that the carbonic process forms the one great novelty of the day in photographic art, the absolute unalterability of the proofs being a quality of transcendant importance, while, so far as we have been able to judge, the tone and general effect is at least equal to that of any other photographic pictures.  It has created some surprise that this process, or perhaps we should say these processes, have not yet been introduced into general use; but we believe that this has been caused by certain commercial engagements which seem now to have been completed, for we find that a well-known photographer of Paris is advertising the use of the carbonic system.  We think that our friends and readers will do well to give their attention to this subject, which we simply recommend for their examination.

            Messrs. Ferrier, Son, and Soulier contribute a large number of their stereoswcopic slides, which for clearness and vigour it is but fair to say are at present unequalled, and the endless chain table stereoscopes which contain them are a constant source of attraction.  The instantaneous views of the Boulevards, with crowds of men, horses, and vehicles in apparent motion, are certainly most remarkable productions—clear, crisp, and full of life.

            M. Fierlants, of Brussels, has in the Exhibition a very interesting collection of reproductions of the works of ancient masters in the various museums of Belgium.  All photographers know the difficulty of producing good copies of old pictures irregularly encrusted with the varnish and dirt of ages, and presenting frequently a surface which almost baffles all the skill of the photographer.  Some of M. Fierlants’ specimens exhibit a very successful struggle with such difficulties, and well deserve attention.  The Heads of Christ and of the Virgin, by Quentin Matsys, and the Antwerp Portrait of a Woman, by Rembrandt, are amongst the most conspicuous.  M. Fierlants has done good service, too, ingiving the world photographic copies of several important works not generally accessible to the public, such as The Portrait of a Woman, by M. de Keyser, and The Woman with the Glove, by Van Dyck, in the gallery of the Vicomte B. Dubus, at Brussels; the Portraits of Jean Charles de Cordes and of his Wife, by Rubens, in the gallery of the Comtesse de Beaufort, in the same city; and a Portrait of a Man, by the same master, in the Suermondy Gallery, at Aix-la-Chapelle.  M. Fierlants exhibits also some very good photographs of the public buildings of Antwerp.

            Major Webster Gordon exhibits some very interesting views in India, and types of Indian life; and Mr. Russell Gordon, of Chiswick, a series of remarkable photographs of the public buildings of Funchal, Maderia, with a fine view of the natural basaltic pyramid, called Momem-em-pé, on the road to Pico Ruivo, in the same island.  This extraordinary natural monument is fifty feet in height, and stands on a hill 5,500 feet above the level of the sea.  Some of Mr. Gordon’s productions are stereoscopic.

M. Hammerschmitz, of Cairo, contributes some pleasing photographs of the

 interesting buildings of that city, and one or two others from the neighbourhood of Carnac and Thebes, together with stereoscopic views in various parts of Egypt.

            M. Joguet, of Lyons, has, like many more of his countrymen, welcomed Mont Blanc into France, and has succeeded in catching some of the remarkable features of that ever-interesting spot.  His view of the Mer de Glace is an exceedingly fine production, taking in a large area, and representing the features as well as the general effect very happily:  the Glaciers of the Wood and the Valley of Chamounix are also very meritorious pictures.  Amongst the curiosities of the Exhibition are the fans of Maddon Laffon, with photographic views on silk and the enamels and vitrifications of M. Lafon de Camarsac:  neither of these are very new or remarkably striking, but it is quite possible that each may contain the germ of an useful application of the art.

            The litho-photography of M. Lemercier exhibits a considerable advance in the application of photographs to stone.  The specimens exhibited are examples of three distinct processes:  the carbon system of M. Poitevin already referred to, the bituminous process of MM. Bareswill and Davanne, and the bichromatic process of the former gentleman.  Some of the specimens are printed in chrome, and have a very pleasuing effect.

            M. Letzter, of Cassorre, exhibits an interestingcollection of groups of Hungarian and Bohemian officers, musicians, and peasants:  the execution of the pictures is generally good, and the picturesqueness of the costumes secures them attention.

            The archæologist will be attracted towards Dr. Lorent’s (of Manheim) views of the Sphinx and Pyramids, the Façade of the Temple at Elba Simbul, in Nubia; of the Isle of Elephants at the commencement of the Cataractgs of the Nile; of the Temple of Jupiter; and of the Erecthion:  these are on albumenized paper from waxed-paper negatives, and the treatment is that which alone suits such subjects, clear and distinct.

            Belonging to the same category are the views in the Crimea, Italy, Egypt, and Nubia, taken by order of the Emperor and of the Minister of State, by M. Léon Méhédin.  The pictures of places remarkable in the history of the Russian and Italian campaigns will always possess a considerable amount of interest, and the dimensions of the pictures in question and the clearness of their execution greatly increase their value; but the views taken for the French Government in Egypt and Nubia, besides their eternal interest, are very superior as works of art, and show high artistic feeling as well as excellent manipulation.  The great Pyramids, the noble ruins of Thebes, Ipsamboul, and Carnac, the Memnons and the Temple of Philoë, are admirably rendered, and the tone and colour of these large works are remarkably happy.  The great monuments stand baking in the hot sun, reflected by the glaring sand; and the pink haze hangs as it were in the place of shadows.  It is difficult to imagine a better rendering of the subjects, and the French Government and M. Héhédin have rendered a true service to art in thus placing in our hands, as it were, pictures of these marvelous works in a setting of their natural atmosphere.  It may not be out of place here to give a hint to traveling photographers from another work by the same gentleman, to be seen in the same building, namely, a model of one of the obelisks of Luxor, in paper, M. Méhédin conceived the happy idea of taking what is at once both cast and model of this and other works by the simploe process of pressing damp sheets of coarse paper on the sculptured bassi-relievi, and leaving them until perfectly dry, when they present all the minutiœ of the work in the most faithful manner.  By this process he brought home in sheets a facsimile of the obelisk in question, which, being fixed on a frame of light scantling, presented so complete an appearance of stone as to deceive even the most practiced eye.  These same sheets were set up in Egypt out of doors, and remained so exposed for, we believe, two years, without the slightest apparent injury; and the inventor proposes to erect similar models in Europe, and says that experience has proved that they will resist the effects of the weather, even in damp climates, for a long period.  Whether he be correct in this is a matter for trial; but so far is certain, that any traveling artist will find the process most valuable for bringing home exact copies of bassi-relievi and inscriptions.  A moderate-sized box would hold a hundred of these papyroplastic models, which will bear almost any amount of rough usage, and, in comparison with any other material, weigh literally nothing, while a brush and sponge and water are the only other materials required; and in hot countries the drying of the paper cannot take long.

            Of all the views from nature those of our countryman, Mr. Maxwell Lyte, are, according to our opinion, the most remarkable as photographic productions; most, if not all the pictures exhibited by this gentleman upon the present occasion are from the Pyrenees and the Valley of Pierrefitte.  The works of that magnificent structure, the railway bridge of Solferino, now being hung in air over the precipice at Saint-Sauveur; the charming Vallies of Estaube, Gavarme, Luz and Baréges, Argèles, Ossan, and Eaux-Bonnes, the little watering place South of Pau, where the Empress was latterly staying; the Pic du Midi of Ossan; the fishermen’s port at Biarritz; the amphitheatres of Gavarme and Estaube, or M. A. Fould’s beautiful chateau of Beaucens, exhibit almost equally the artistic eye and the able hand.

            M. Tournachon, better known under the soubriquet of Nadar, exhibits a number of proofs taken by the electric light, and one negative which is said to have been produced, by the same means, in seventy-five seconds.  These specimens are very unequal, but as experiments they deserve notice.

            M. Charles Nègre’s specimens of heliographic engraving, by a process of his own invention, seem to hold out some promise.  A proof produced in ordinary copper-plate printing ink from a sun-engraved steel plate, representing sculptured details of the Cathedral of Chartres, although somewhat flat is still a remarkable production.  The specimens of damascene work and ornamental engraving on steel by this gentleman’s process are very remarkable.  Of the same class are the specimens of heliographic engraving in marble, obtained by means of the bitumen of Judea, by M. Nièpce de Saint Victor.

            Mr. Vernon Heath’s views of the Duke of Bedford’s mansion of Endsleigh, Devonshire, are amongst the most pleasing pictures and the best photographic productions in the Exhibition, and attract great attention, as English views always do in Paris when worthily rendered.

            As usual the number of portraits in the Exhibition is very large, and there has certainly been a great improvement of late in that class of French photography.  As to cartes de visite they have become a perfect nuisance, and not one in a dozen is even tolerable; but many of the larger portraits, it must be admitted, exhibit evidence of a more than ordinary amount of artistic education, or, perhaps, it would be fairer to say that, in consequence of the over-abundance of artists in France—good, bad, and indifferent—a larger number have taken to photography here than in other countries.  Some of the collections in the present Exhibition are extremely interesting, from the reputation or notoriety of the originals; and of all the series those of the dramatic corps are decidedly the most effective,--Ravel’s laughing face and wonderful play and command of feature making him especially conspicuous.

            The number of visitors to the gallery shows that the taste for photography is rapidly extending in France; but it must not be forgotten also that plenty of space, sensible arrangements, excellent ventilation, and a low price for admission, have aided greatly in the success of the Photographic Exhibition in the Palais de l’Industrie; and it is to be hoped that our countrymen will take a few hints therefrom.

 

1861:  BJP Oct. 1, vol. VIII # 151, p. 340:

            Photographs of War Scenes.  [by Brady in the U.S.]

            The following strange scrap is extracted from Humphrey’s Journal:--

            “The public are indebted to Brady, of Broadway, for numerous excellent views of ‘grim-visaged war.’  He has been in Virginia with his camera, and many and spirited are the pictures he has taken.  His are the only reliable records of the fight at Bull;s Run.  The correspondents of the rebel newspapers are sheer falsifiers, the correspondents of the Northern journals are not to be depended upon, and the correspondents of the English press are altogether worse than either; but Brady never misrepresents.  He is to the campaigns of the republic what Vandermeulen was to the wars of Louis XIV.  His pictures, though perhaps not as lasting as the battle pieces on the pyramids, will not the less immortalize those introduced in them.

            “Brady has shown more pluck than many of the officers and soldiers who were in the fight.  He went—not exactly like the “Sixty-ninth,” stripped to the pants—but with his sleeves tucked up and his big camera directed upon every point of interest on the field.  Some pretend, indeed, that it was this mysterious and formidable-looking instrument that produced the panic!  The runaways, it is said, mistook it for the great steam gun, discharging 500 balls a minute, and incontinently took to their heels when they got within its focus!  However this may b e, it is certain that they did not get away from Brady as easily as they did from the enemy.  He has fixed the cowards beyond the possibility of a doubt.

            “Foremost amongst them the observer will perhaps notice the well known correspondent of the London Times—the man who was celebrated for writing graphic letters when there was no body by to contradict him, but who has proved, by his correspondence from this country, that but little confidence can be placed in his accounts.  see him as he flies for dear life, with his notes sticking out of his pockets, spurring his wretched-looking steed, his hat gone, and himself the picture of abject despair!

            “But, joking aside, this collection is the most curious and interesting we have ever seen.  The groupings of entire regiments and divisions, within a space of a couple of feet square, present some of the most curious effects as yet produced in photography.  Considering the circumstances under which they were taken, amidst the excitement, the rapid movements, and the smoke of the battle-field, there is nothing to compare with them in their powerful contrasts of light and shade.

 

1861:  BJP:  Oct. 1, vol. VIII, #151. p. 344-347:  [cont. from issue #150, Sept. 16, p. 330-331]

            Exhibitions.  Exhibition of Photographs at Manchester in Connexion with the Meeting of the British Association for the Advancement of Science.  By Our Eye-Witness at Manchester.

            WE will now proceed to make a few remarks more in detail than our former notice permitted; and in doing so shall endeavour to avoid as much as possible reiteration of what we have said before.

            Rydal Church and Nabscar, Wordsworth’s House, Bridge House, Ambleside, &c., by Mr. Faulkner.  This gentleman has only recently taken up photography, and has much to learn, especially in the management of his lenses.

            Mr. Kershaw’s Lincoln Cathedral is very clear and free from distortion.  His Manchester Infirmary and Dunham Mill will not compare with other views of the same subjects in the room, the shades being too dark and the water too chalky.

            Mr. Buston’s Egyptian views are very beautiful, particularly his Great Court of Medineet Aboo,  and the Memnonium at Thebes, the Temple of Esculapius, and other views at Philœ, the “Tivoli of Egypt,” as Mr. Milnes so poetically styles it.  The Two Memnons are worthy of a larger representation, but the one given here is very good.  The Nile Boat is the worst of the series.  The Cataracts of the Nile is an exceeding fine picture:  the huge blocks of stone scattered about by the hand of Nature seem to view with the havoc caused by time in the ruined temples.  The pictorial inscriptions in some of the views are very well brought out, and afford ample scope for the student of such hieroglyphics.  Thebes,--The fallen greatness of the city of the sun is well portrayed in several of the views.  The Pylon at Carnac is a noble relic of Egyptian architecture.  Since our last we regret to have been undeceived with regard to one of Mr. Buxton’s pictures, which we mentioned as having a fine effect of streaming sunbeams.  This we find is owing to an accidental access of light to the negative, which has been made so good a use of by the printer that we could almost mistake the picture for one of Mr. Bartlett’s drawings.

            There is here the Express Boat (Taupenôt), by Mr. Kibble—anextraordinary instantaneous picture.

            To speak in detail of Mr. Mudd’s pictures is a hopeless task, their excellence is so uniform and their beauties so innumerable.  We must, however, select his Bridge at Dunkeld,  and other views in that neighbourhood, as particularly worthy of notice.  It must be a very Eden for photographers:  all seems so placid that a failure would hardly disturb the photographic equanimity.  Eskdale, from Birker Fell.—This is a large panoramic picture taken at two operations from one centre:  the difficulties are well overcome, the printing is nicely managed, and the joining is scarcely visible.Valley of the Tay.—Some natural clouds in this and one or two others of Mr. Mudd’s deserves more than a passing notice.  The effect produced is not very pleasing, although extremely natural.  We believe the negatives were taken with a 5/8-in. stop and thirty seconds’ exposure.  As soon as any cloud-marking is perceived the development is stopped, and that of the foreground, which is under-exposed, is pushed on rapidly with warm water; and when it has reached the same tone as the clouds both are intensified together.  Cloud pictures (pur et simple) obtained in this way would be valuable to artists who have frequently difficulty in transferring to canvas the fleeting forms of the cloudy regions.  A Study from Nature—a perfect background for a pic-nic.  A pre-Raphaelite would revel in a bit like this, but his minutest pencillings of leaf and spray cannot rival the perfect mirror of nature here produced.  Borrowdale.—The atmospheric effect in this picture is, we think, very fine indeed.  The Silent Pool—a little too chalky, but replete with indescribable beauties.  The Screes, Wastwater.—The water in this is very black, but is not unsuited to the solemnity of the scene, over which a Stygian darkness often broods.  Bowdon Church.—This fine picture will always call up regrets that the original edifice has disappeared before the “improvements” of the restorer.

            H. Miller’s Glodaeth, Tabley Old Hall, Llangollen Bridge, and Rostrevor Bridge, are evidently the work of a young photographer, whose works are severely tested by the hanging committee placing them so near their splendid neighbours, Mr. Mudd’s pictures.  They have many good points, which should encourage the artist to persevere in the path which he has begun to tread.  The last is really a very good picture, and does the artist credit.

            Llandaff Cathedral.—Major Ashton has successfully contended with some difficulties of situation, and has produced a pleasing picture.

            Chepstow Castle.—This picture has a very artistic foreground, and, together with all Mr. Sidebotham’s pictures, is worthy of all admiration.  It is of large size, 22 inches by 14, is a pleasing scene, and is well worked out.  Mr. Sidebotham is one of the most careful and successful operators we know: to a thorough knowledge of chemistry as regards photography, and the painstaking perseverance of an enthusiast, he unites the skill of an experienced adept, and there is scarcely any department of photography, not to name other sciences, in which he has not made considerable progress.  His in one of those spirits we would not like to miss from the circle of our friends, and we hope his career in the scientific world may be as long as it has been successful.  In this place, though out of order, we would refer to one of the screens in which are some copies of Mr. Nasymth’s etchings by Mr. Sidebotham.  As etchings they have extraordinary merits, but as photographic reproductions they have almost microscopic beauties.  Rocks at Holyhead.—This picture, and another of Contorted Strata in the same locality, by Mr. Sidebotham, are full of interest to the geologist.  In Mr. Sidebotham’s South Stack Lighthouse there is a deficiency of atmosphere.

            Mr. Wardley has managed to make a fine picture of a most incongruous building, Manchester Infirmary, in which, however, the bronze statue is much too dark.

            Kenilworth, and Ancient Houswe at Warwick, W. M. Rae.—This gentleman is, we understand, but a novice in the art:  his progress must, we consider, be deemed very satisfactory.  We would, however, advise him to forbear exhibiting his Pitville Spa any more:  the whites, in some cases, require softening.  The Town Hall at Maestricht is an exception, which we like very much.  We do not admire his choice of position in Guy’s Cliff, which, however, we presume was forced upon him, and the subject is not one of those which we would have chosen at the risk of artistic failure.  The cognisance of the “bear and ragged staff,” on the front of the old house, has a very curious stereoscopic effect, and seems to be quite an afterthought of the artist.

            A. Neild.—From the early connexion of this artist with photography we expected more from him:  his Coltsfoot Leaves, however, makes a beautiful bit of foreground.

            High Tor, Derbyshire.—Mr. Mann has evidently reached a high degree of perfection before he modified his manipulation.  Of his process in collodio-abumen [sic] this is a satisfactory specimen, and we would advise him to adhere to the original process.  This is an excellent example of his style, as is also a Schooner on the Sands, which has been mistaken for an instantaneous picture on a dry plate.

            Mr. Clarke’s pictures are all admirably printed, but some are very deficient in arrangement:  a little more attention to this would obviate the bad effects sometimes perceptible of distortion by the lens and introduction of gables.  One of his pictures is a fine study for the architectural student—the true swell and proportion of the columns being apparent on measurement.  The “Auld Toon” is vividly brought under our notice in these fine pictures, and one can realise Scott’s description of an Edinburgh wynd at once:--“The passage, in which they stood, had a window to the close, which admitted a little light in the daytime and a villanous compound of smells at all times.”  Some ghosts of horses and passengers in the Grassmarket have by no means a pleasing effect.  Cardinal Beaton’s House.  We consider this one of Mr. Clarke’s best.  Mr. Clarke rather overdoes the introduction of artificial skies; in one, however, that of Princes Street, Edinburgh, he has produced such a pleasing effect that we are inclined to forgive him the use of the unphotographic brush.

            Patterdale Churchyard (Mr. Wardley) is a piece of study which would delight Mr. Harding with its trees, and might almost inspire a Gray with another elegy.

            Millbeck, Langdale, by A. F. Smith—We do not at all admire this picture and so pass on, first naming his View on the Irwell.  We would hardly expect such a beautiful scene on such a river.  It is a very choice photograph.

            Free Trade Hall, Manchsteer [sic], by G. Wardley.—A well contrived view of a fine building, but one which is very difficult to manage.

            Eagle Crags, Borrowdale, by G. Wardley.—In this a fine aerial effect is given, which shows great care in the manipulation.

            The Bowder Stone, by G. Wardley.—A Small shrub on the summit of this geological monster has a singular effect, like smoke.  In this, as in many others, the stay-at-home traveler may find “sermons in stones.”

            Two of Mr. Fenton’s fruit pictures which are here are better than his landscapes, and are good witnesses in favour of the party which regards photography as a fine art—the marks of a master are so strongly impressed thereon.—We are sorely tempted to beg this “loan of a bite” of Mr. F.’s apples.

            We do not think the Lady of Shalott has been done justice to in Mr. Robinson’s picture.  We do not mean to be uncomplimentary to the model, who seems also to have figured as Elaine with the Shield of Sir Launcelot, but she is of too earthly a mould to have disposed of herself in any such style:  the boldness of her writing on the boat;s prow is sufficient proof of this.  No maiden distraught with such feelings could have executed such an inscription.  Mr. Robinson gives us a good photograph, but not a good poetical conception of the poet’s genius.  The background strikes us as rather too heavy.

            Holiday Rambles, by Mr. Cottam, and various stereographs by Mr. Underwood.

--Mr. Cottam’s frame and those of Mr. Underwood are hung respectively too high and too low.  Those of the former are not bad specimens of the hot-water process, and exhibit great variety of subject; and Mr. Underwood’s views are exceedingly well chosen and uniformly printed.  We would, however, recommend these gentlemen to try their skill with larger cameras.]         We shall never treat the oxymel process with favouritism, having had many failures with it ourselves; but it is here shown that good results may be obtained with it, as Mr. Mann certainly proves.  The Old Mill, near Dunham, is a very artistic study.

            With all due respect to Mr. Petschler’s perseverance, we are unable to declare ourselves satisfied with his process.  The shades in many of his pictures are often much too intense, and an uniform grey seems to spread itself over them, completely obliterating the high lights.  The pictures of Haddon and Chatsworth are the best.  Matlock High Tor also competes with Mr. Mann’s view of the same subject by a different process.  We think the process well suited to copying, of which he exhibits some good specimens.  Knowing Mr. Petschler well, we cannot help stating our strong faith in his capabilities as well fitted for success in any branch of photography to which he may apply himself.

            We should have been glad to have seen more of Mr. Consterdine’s productions.  His Conway Castle is a very good picture.  We hope he has not permanently taken to Hill Norris’s plates in preference to preparing his own.

            Mr. Herbert we know to be a co-worker with Mr. Parry, and we should have preferred some of his transparencies to those views of Dovedale, St. Etienne, &c., which do not do justice to this very convenient process.

            Old Church, St. Brelade’s, Jersey.—One of the worst views Mr. Sutton could have chosen to show off his new lens.  Always considering photography to give true perspective, we cannot agree with a theory which seems to our apprehension to give curved in place of right lines.  We have here a church which we may represent by a straight line, and we are not aware of any mode of placing a straight line so that all its component points shall be equidistant from one point, i.e., the point of sight; yet it seems

Impossible to view this print rightly without curving it and placing the eye in the centre—indeed we understood Mr. Ross’s assistant to admit this, in reply to the Astronomer Royal’s question in the sectional meeting.  If this be so, pictures so constructed must be, for all practical purposes, useless.  It is possible to have too much included in the field of view, as with other good things.  We are not of that class which holds the painter of the “Bolt in Tun” right in depicting both ends of that famous butt on the signboard.  Mr. Sutton’s camera, as made by Mr. Ross, is a very ingenious affair; but we fear it offers difficulties which will prevent its general adoption.

            Conway Castle, &c.—These pictures we remember seeing some years ago, and regret Mr. Compton does not exhibit more recent ones.

            West Door, Kirkstall Abbey (Mr. Sisson’s process), and Loch Ranza (tannin process), by Mr. Annan.—As illustrations of new processes we are glad to see these pictures, but they serve only to heighten our appreciation of the old ones.  There is a want of sunshine in the latter which the clouds from a second negative do not diminish.  Elaine Gazing on the Shield of Sir Launcelot.—This picture is by no means so ambitious as usual.  It is to be admired for its simplicity of treatment and the pleasing nature of the composition, though we think we recognise the Ladyof Shalott again.

            Chirk Castle, View of Llangollen, &c.—Mr. Alfieri’s  Alfieri’s camera campestral has been employed with advantage by Mr. Albin, who uses wet collodion and an iron developer.  The Valle Crucis Abbey is a very good specimen.

            Kirkstall Abbey, Lowood, Windermere, Kirkstall Pass, and Windsor Castle, by R. Fenton.—We regret to say anything disparaging of this veteran’s productions, but really a very different feeling is excited by these pictures to that which we should wish.  Every artist should exhib it his best; but these are only valuable as showing the attainments of Mr. Fenton some time since, and as such are links in the photographic chain.  Having been exhibited over and over again they have become weather-beaten and grimy, and present altogether a dispiriting appearance.

            Aberfoyle (wet collodion), by Mr. Annan.—Common consent seems to have invested this picture with the blue ribbon of merit in this Exhibition.  The sky is printed from a second negative, and is well put in and in harmony with the rest of the view, which has a very good distance, both middle and extreme, but the foreground is rather deficient in conspicuous objects.  We must leave the readers of Rob Roy, which category includes all our own, to people the fertile plain with the characters of the romance, and to those with whom the affray at the Change House is familiar.  This will be no difficult task, especially aided by one of G. Cruickshank’s pictures of the interior, which one may almost suppose to be that of them both in the centre of the view; at all events, if they do not recognise it, we are sure Baillie Nicol Jarvie, in the saut market o’ Glasgow, or Andrew Fairservice would.

            Mr. Piper’s Old Curiosity Shop is indeed a medley and a beautiful picture too.  There are, in the front of an old shop, kept by one Fenton, at Bury St. Edmunds, “suits of mail standing like ghosts here and there, fantastic carvings brought from monkish cloisters, rusted weapons of various kinds, distorted figures in wood and china, and iron and ivory, tapestry and strange furniture that might have been designed in dreams.”  The artist might surely have improvised a Little Nell and her old Grandfather, to make the picture a worthy illustration of Dickens.

            Monument at Mansfield, View at Brislington,  &c., and Bust of Tennyson.—Mr. Tyley’s sculptural subjects are exceedingly fine:  no doubt he possesses some unusual advantages in this branch.

            With one or two exceptions, the instantaneous pictures by Smyth and Blanchard look too much like moonlight; but they are admirable specimens of chiaroscuro, as exhibited in the broad firmament above our heads.

            Bust of Professor Sedgwick, by W. Jeffrey.—This is a very fine photograph, and well exhibits the utility of the art to the sculptor.

            St. Leonard’s and Hastings, by Arthur Neild.—This gentleman is, we believe, connected with the Manchester Photographic Society.  He has apparently not done much in photography lately, and so exhibits his old pictures.  Whoever named these two pictures has omitted a very meaning preposition from the title.  We cannot see how three strips of house, promenade, and shingle can represent St. Leonard’s; and a timber yard is no more Hastings than the Portico is Manchester—and there is not much to admire in them, photographically speaking.

            Two river scenes by Mr. Wilson, with Dallmeyer’s new lens, are to be specially commended for pictorial as well as photographic excellence.  The large angle they embrace is remarkable.  They deserve a little more careful printing.

            On the Thames at Maidenhead.—Two views of very simple subjects, by Mr. Heath, which were greatly admired.  It were well that photographers generally should follow the example of Mr. Heath, and not “let vaulting ambition overleap itself” in the choice of subjects.

            The Glaciers, with a Party Ascending, is rather a poor specimen of Messrs. Bisson’s skill.  The figures too much resemble the ombres diaboliques which our neighbours are so fond of.

            Chapter House, Furness, and Views on the Duddon, are specimens, by Mr. Hooper, of the turpentine waxed-paper process.  They are somewhat deficient in details, and have chalky lights, which are not agreeable.  Mr. Sheard also exhibits Furness Abbey, by the same process.

            Dalhousie Castle, by Mr. Kinnear.—This subject is vignetted in printing—a style we do not generally admire.* (*We differ emphatically from our collaborateur upon this point—except for stereographic purposes.—Ed.)

            Old Bee Hives, Ludlow, by Mr. Sidebotham.—This we deem the best pictrre among those from waxed-paper negatives:  it is so clear and bright that we at first assigned it to wet collodion.

            Tintern Abbey, and Gateway of Raglan Castle, by Mr. Sidebotham.—Oft-repeated subjects, well treated.

            Raglan Castle, by Mr. Sidebotham.—A very neat picture, with good perspective.

            Near here is a landscape, very fairly coloured, by Mr. Briggs, who, we hope, will not neglect this branch of art, though we are not inclined to commend the spoiling of good photographs for the purpose.  There are many bad ones which would be kept out of sight if the art were a little more practiced.

            Calotypes, by Mr. Buckle.—These are old landscapes which find many admirers, who now have to lament that the artist’s hand is cold.

            Insanity.—These are highly interesting examples of the great utility of photography to the psychological student, and exhibit in a striking manner the melancholy effects of the most terrible calamity which flesh is heir to.  It could hardly be expected that such subjects would give good pictures:  these are, however, very fair, and might well be studied with good effect with some photographic illustrations of a paper On the Encephalon of Mammalia, read in one of the sections.

            Portraits of ivory and in oil.—Of the large group of officers so deservedly admired we have before spoken.  Mr. Brothers’ great success in portrait-photography is remarkable in many respects, and his fine photographs are exceedingly good; but he will excuse us for giving a word of advice to the artists employed as well as to himself.  WE do not use our own words, and of course the remarks apply to all the artists in this department:  at the same time we are bound to say we have seldom if ever seen these ivory pictures surpassed:--“The success of a portrait depends upon the sitter as well as the painter, and may be spoiled by the bad taste of the one or the other.  Excellence in portraiture consists in placing every feature in its proper place, in correctness of modeling, in judicious arrangement of light and shade suited to the complexion, in tasteful attire, and unaffected and simple attitude.  No defect is more striking than a forced and affected attitude.  No defect is more striking than a forced and affected attitude.  In every portrait the countenance should constitute the picture:  all accessories must be kept subordinate to the principal object.”  Photographers are generally great sinners in this last particular.

            Messrs. Smith and Blanchard contribute some portraits enlarged by the solar camera, which, had they been treated in a proper style by the artist, might have shown the advantages of enlargement to the fullest extent; but they are coloured in a crude manner, which is not pleasing.

            Portrait of a Lady, by H. Hering.—A neat specimen, resembling a litho-tint print.

            Proffeser Owen (sic).—One of Maull and Polyblank’s very effective pictures.  The orthography of the label made this conspicuous.

            The Earl of Derby and Lord Brougham, by Mayall.—So much has been said in praise of these excellent portraits that we would not add to it.  We wish we could say the same of the very bilious-looking album Portrait of the Royal Family, by the same artist.

            Mr. Hering’s album portraits are excellent; but we must except one, in which the most prominent feature is the interior of—a gentleman’s hat.

            Mr. Eastham’s large portrait of F. Crossley, Esq., was admired, but it is not to our taste.

            Among the portraits is a positive, on glass, of Mr. Nasmyth, by Mr. Sidebotham.  We should not omit to mention a very good hand, from nature, serving as an index or pointer round the room—a “notion” we recommend for use at other Exhibitions.

            Messrs. Caldesi have three portraits of actors—Fechter, Gassier, and Webster.  They are very good, and the costumes are not unnecessarily obtrusive, except in one case, where parti-coloured hose has caused a difficulty.  The aqua-tinted ground on which they are mounted is very neat and appropriate.

            Two portraits of the Right Hon. Mr. Moncreiff, by Holt and McGlashan, we consider the best modern portraits in the room; and we regret that the style does not receive more encouragement from the public.

            The early calotype portraits, by Hill and Adamson, are worthy of all commendation.  They are examples of what ought to be done in portraiture.  Subsequent progress in the art is not marked by the same features of artistic excellence which characterises these fine pictures.

            The first screen is occupied by Colonel Sir H. James’s reproductions of maps and MS., all highly interesting and satisfactory in their way.

            One side of the second screen is covered by the copies of the Liber Studiorum of Turner, of which—as well as of some of the cartoons of Raphael, to be found in this room—enough has already been said.

            On the other side are specimens of Pretsch’s process, and some fine copies by Ponting, Spencer, Bedford, Thurston Thompson,  and A. Brothers, and one of Mr. Tyley’s mural monuments, which is a very good example.

            Mr. Hering occupies the whole of the third screen with copies of engravings—all very fine, especially the pictures of the Cumœan Sybil and the Mater Amabilis of S. Ferrato, and Wilkie’s well-known Blind Fiddler.  There is also a curious picture of a silver cradle, by Mr. Sharpe.

            The fourth screen contains some more of Mr. Tyley’s pictures, and some specimens by Mr. F. H. Morgan, which we must allude to as very choice.  His Chagford Bridge and Rising Mist are both good.  One of Mr. Fenton’s best will be found here—it is The Foot of Windermere.  On the reverse side of this screen is a curious collection of photographic wonders—examples of varied developments, by Mr. Mercer; some enlargements of microscopic objects, by Mr. J. R.; Tracy; some peculiar pictures from the exhibitions in Scotland in 1855-6-7; and a large number of Mr. Dancer’s micro-photographs, which should, we think, have been shown under the microscope upon the tables, on which there were two of his instruments:  and here, in like manner, might have been mounted some pillar stereoscopes for transparencies, of which Mr. Parry was the only exhibitor, but his specimens were very beautiful.

            There were also on another table some very early collodion positives, by Mr. Sidebotham; and that gentleman lent a Vue Generale de Roma, on silver, by Daguerre himself, who, if he could but don once more “this mortal coil,” and visit such an Exhibition as this, could not fail to be astonished at the prodigious progress made since his day.

            This Exhibition was to be a “complete and trustworthy exponent of the present state of the photographic art, and of the steps by which it has obtained its now popular and important position.”  We think that this has hardly been realised in extent.  We have visited much larger collections.  On running over the ground again we find there have been less than 700 pictures shown, counting a frame of portraits as one only, and that these are the work of about 70 artists.  This is a small number to represent such a constituency, and we miss many names which ought to have been represented.  Cundall, Howlett,* (*Our eye-witness does not appear to be aware that Mr. Howlett died above two years ago.—Ed.) [author’s response to Editor – see issue #152, Oct. 15, p. 374] Llewellyn, White, Dolamore, Alinari, Melhuish, Frith, Raven, Lake Price, Rejlander, Lyndon Smith, Sedgfield, Watkins, to say nothing of a legion of others, are all absent; and, when we consider that many of the pictures shown are contributed by the owners, not the artists, we are inclined the less to overlook the omission.

            Some time ago we had the pleasure of inspecting the portfolio of the Society, which contains many remarkable productions which we should have been glad to have seen on these walls.  We shall have to contrive to ferret them out of their concealment, and tell our readers of what they consist.  How the Committee came to forget this portfolio we cannot imagine:  we are sure the Society would have lent it.  A little management would have prevented much disappointment in another way.  The placards, announcing the Exhibition to “continue open until Saturday next,” remained visible upon the Saturday, and, we believe, prevented many going on the last day, under the belief that they had still a week in which to go.  The advertisements to the same effect were repeated on the last day.  These are all deviations from “that business-like precision for which the men of Manchester are celebrated,” and for which a contemporary gives them credit.

            We do not wish to undervalue the success which this Exhibition has attained; but, considering previous Exhibitions, we had larger expectations from this than have been quite realised.  At the Manchester Society’s Exhibition in 1856 there were near seven hundred pictures and about fifty exhibitions; at the Exhibition in London this year, which we visited, there were six hundred and twenty-three pictures, and one hundred and seven exhibitors.

            A contemporary, we see, finds an excuse for the absence of a catalogue in the “temporary character and purpose of the Exhibition.”  We think the purpose, as indicated by the circular of May last, was far from temporary, whatever the character of the Exhibition may have been; and we regret much that each visitor was not enabled to take away with him a cheap and comprehensive hand-book of the valuable collection now dispersed.

            The absence of any special allusion to photography in the president’s opening address has been before alluded to in this Journal.  We must add, also, that in closing the business of the Manchester meeting there were no thanks given to the gentlemen whose arduous labours resulted in this Exhibition.  We therefore take it upon ourselves to thank them, both as members of the British Association and as fellow-workers in photography.  We are sure that all the visitors whose appreciation is worth anything will join with us in so doing.

 

1861:  BJP:  Oct. 1, vol. VIII, #151. p.348:

            Photographic Olla Podrida [miscellaneous news].

            Exhibition Gossip.—The medals will be of one class, for merit, without any distinction of degree.  The awards will be published, early in June, at a public ceremonial in the Exhibition building, and the medals will be delivered to the exhibitors on the last day of the Exhibition.  There are to be three catalogues:  the Industrial, the Illustrated, and the Fine Arts.  Advertisements, set up in ruby type, will be charged £5 for ten lines, or under, and £50 for one page, for issues of 250,000 copies of the Industrial Catalogue; ten shillings for ten lines, or £5 for one page, in the descriptive part of the Illustrated Catalogue; or ten shillings for five lines or under, or £10 for a whole page, in the advertising portion of that catalogue.

…. [technical news omitted]

            Works Illustrated by Photographs.—Besides Hessling and Kollmann’s Atlas of Photo-micrographs, Rudinger’s work On the Nervous System, illustrated with photographs from the dead subject by Albert, of Munich, a photographically illustrated edition of Schiller’s Poems, and Unger’s Ideal Views of the Primitive World, have also lately been issued to the public by various publishers at home and abroad.  Messrs.  Longmans & Co. have just published Twenty-four Views of the Vegetation of the Coasts and Islands of the Pacific, being photographic reductions from the plates of Kittlitz, with descriptive letterpress by Berthold Seemann.  The latter work is of as great interest to the botanist as the former are to the paleontologist, anatomist, and microscopist.

 

1861:  BJP:  Oct. 1, vol. VIII, #151. p. 350:

             Notes of the Month.

            “Term-time,” as it is called by Cantabs and Oxonians, has now commenced, and the sessions of the various photographic societies will probably be more than usually interesting.  There will be the prospects and details of the approaching Exhibition of 1862 to occupy attention, and the latter half of the terms will include the Exhibition realised.  Let us hope that 1862 will be a goal which will also serve as a point from which to start anew.  It will present an opportunity of gathering together all the scattered threads and odd-ends of photographic knowledge from every source into one compact whole, from which we ought to make a fresh and better start.  It would be curious to speculate on all the changes and results the forthcoming year will have upon photography.  In any case it will mark an epoch in the history of the art and science.

            Instantaneous photography is undergoing considerable development, and instantaneous pictures continue to excite as large an amount of interest as has ever been bestowed upon any phase of the photographic art.  Those glorious pictures of Wilson opened up to us a new world in photography, and have been followed by other aspirants with but very varying degrees of success.  Few but those who have made the essay know the difficulties incidental to instantaneous photography.  An occasional picture may be obtained—many have such to show—but to accomplish a whole series with anything like uniformity is somewhat of a Herculean task.  The second series of twenty-four instantaneous Paris views, published on the 23^rd ult. By the London Stereoscopic Company, are by far the best street views yet obtained, and stand quite unrivalled.  It used to be a blot on the photographic escutcheon that beautiful as its architectural renderings were, the streets were lifeless and deserted, and the impression conveyed was as that of gazing on a city of the dead.  In the views referred to there is a roundness and sharpness united with such a balance of the lights and shadows as we are quite unaccustomed to in such subjects.  The pictures, too, are not quasi-instantaneous, but absolutely so.  Here may be seen the porter with his burden—the exquisite taking his morning saunter—the belle just brought to a full stop by a pretty bonnet in a near window.  In one is an old gentleman endeavouring to overtake an omnibus; in another an equestrian with uplifted arm about to strike; and, again, a boy in the act of falling.  The old gentleman doubtless overtook the omnibus—the loast fell on the unwilling beast—the boy completed his fall; but the act arrested in transitu on the sensitive plate is retained and fixed for ever!  The vast improvements that have taken place in Paris are brought home to us, and even the memorable hot weather of the past season by the umbrellas still suspended over the heads of many pedestrians.  The view Fontaine St. Michael (No. 34) is a forcible illustration of the great alterations that have taken place in the student’s Quartier Latin; and the Portes St. Denis and St. Martin—in the time of the first Napoleon the entrances to the capital, but now its very centre—are redolent of life and bustle.  La Station du Chemin de Fer de Stasbourg (No. 33) will be familiar to every tourist; and the Rue Rivoli, with its elegant arcade, bears but little trace of the sites of the memorable barricades of 1848.  But it is in (No. 42), the Boulevard des Italiens—the Regent-street of Paris—seen in its noon-tide aspect, that the interest culminates.

                        “How fast the flitting figures come,

                        The mild, the fierce, the stony face,

* * * * *

Each where his tasks or pleasure call,

They pass and heed each other not,

These eddies of the stream of life.”

There is something of the marvelous in the fact that anything so transitory and fleeting in its nature as a crowded street can, as it were, by the wave of a magician’s wand, be thus seized and perpetuated.

            His Royal Highness the King of Siam is about to become a practical photographer, and in impatiently awaiting the arrival of a complete set of apparatus manufactures for him by Messrs. Negretti and Zambra, and has, beside, engaged the services of a gentleman to initiate him in the principles and practice of photography.  His Majesty will, of course, not object to black his royal fingers, and will probably, shortly, be well up in foggy baths and “depth of focus.”

            An Exhibition of Works of Industry and Art has been opened at Florence.  The gallery devoted to photography is very extensive, and full of pictures; but, according to the correspondent of the Daily Telegraph, among so many thousands of photographs there is much ”rubbish.”  As usual, portraits are in excess.  S.T.

 

1861:  BJP:  Oct. 15, vol. VIII, #152, p. 359:

            The International Exhibition of 1862:  What are the Arrangements Made for Representing Photography There?  By C. Jabez Hughes.

            (Read at a Meeting of the South London Photographic Association, October 10, 1861.)

            A few days since, I took my walks in the neighbourhood of South Kensington, and for the first time saw the great building in course of erection for the International Exhibition of 1862.  I was surprised, astonished, and delighted.  I was not prepared for the great progress made.  In my mind the intended Exhibition had been a vague, indefinite, unsubstantial possibility—a thing requiring much more talk, and thought, and calculation, and noise, and bother, and puff, and advertising, before it could take a material existence.  Yet there the great fact stood before me; and a very great one it is.  As I wandered down its great length, and gazed on the stupendous crystal towers in course of erection, I began to realise the vastness and grandeur of the scheme.  AS the shell typifies the fish, as the cast indicates the model, and the house the tenant, so surely does this vast and grand building imply the magnificent collection of the world’s choicest products speedily to be there collected.  With an undying remembrance of the glories of 1851—with a vivid recollection of the Exhibition of Dublin and the Art Treasures of Manchester—deeply impressed with what has been done on the Champs Elysées, and with what has been perpetuated at Sydenham—with these souvenirs fresh in my mind, I look to the new Exhibition to eclipse them all.  It cannot have the startling prestige of 1851, nor, falling on less pacific times, will it pretend to herald in a delusive peaceful millennium; but it comes at a more stirring and energetic period, and will bear many of the fruits of which the former great Exhibition only laid the seeds.

            Vast and varied, however, as this mighty collection will be, its distinguishing characteristic will consist in the grand display of modern fine art.  All nations will contribute examples of their greatest living and recently deceased artists.  La belle France, young Italy, æsthetic Germany, clever Belgium, realistic Holland, even distant Russia, will send their trophies of science and art and industry to compare with the treasures of Old England.

            And when this grand collection is brought together—when this galaxy of talent is convened—amidst this very constellation of genius, we, as photographers, naturally ask, How will our favourite pursuit be represented?  When all the sister arts are assembled in their choicest and most brilliant attire—Painting glowing with all the charms of colour, and Sculpture in her purest forms; the industrial arts each in its most attractive guise; Music, with enchanting strains, and Poetry beautifying and idealizing all—in this gay assemblage, and in the presence of wisdom, and rank, and wealth, and youth, and beauty, where shall we look for our idol art?  Will it occupy the distinguished position to which it aspires?  Shall we see it appear with its credential in its hand, and claim a place among the highest arts? And will its claims be acknowledged and itself welcomed into the inner and charmed circle as the most youthful of the arts?  Will the protecting geniuses Wisdom and Beauty recognise this young offspring of Science and Art, and placing it on its pedestal, call upon all to pay it homage? And, clothed in the robes of beauty, with the effulgent star of truth on its brow, shall we witness its apotheosis?

            Or, to employ humbler imagery, shall we find photography at the new Exhibition like the celebrated five wise virgins?  Will its lamps be trimmed, and will it be ready and equal for the occasion?  Or, will it be found without preparation, with no oil in its lamps, so that, like the five foolish ones, when the cry comes it will  not be prepared to go in, and then the door will be shut.  Should great exertion be afterwards made, large lamps with abundance of good oil provided, and much knocking at the door be made, it will be very mortifying to be told by the Commissioners, we know you not; you complied not with our regulations; you have been more foolish than the foolish virgins—you knew both the day and the hour, and availed not yourselves of the knowledge, and you must submit to the consequences.

            It is to be hoped that little of this mortification will be felt, and that photographers, like wise virgins, have availed themselves in time and duly applied for space, and that they have determined to send the best things they can produce.  But whatever photographers, individually, have done, in their collective capacity, nothing, or worse than nothing, has taken place to represent photography in such a manner as to be creditable to the art or honourable to the nation.

            For foreign photography I have not much fear.  I have every reason to believe it will be numerously and worthily represented.  The same causes have not been at work with them to damp their ardour and check their enthusiasm.

            It is for the English portion that I entertain fears.  At least ten years will elapse before a similar occasion will occur of displaying the immense improvement in our art and its endless applications.  It was a great misfortune that the Commissioners should have adopted so unfortunate a classification, so far as to photography was concerned; but it was a still greater misfortune that the Council off the Photographic Society could see no other way out of their position than to abandon the project of a Committee of photographic gentlemen, to manage the photographic section, because the Commissioners would not cede the point in dispute.  It is to be lamented that the Council, after having so argumentatively established their case, could not accept the proposal of a separate department for photography.  Although photographers are well convinced that this art is entitled to rank among the Fine Arts, yet when the position is controverted they could hardly be expected to be allowed to be judges in their own favour.  The Commissioners are not the sole persons who deny it the right.  The great body of artists, and they are popularly supposed to be the best judges, say that our art has no place among the Fine Arts.  When, therefore, the Commissioners offered a separate department they practically said—“We will not debate the question with you, but we will supply you with the means whereby you can substantiate your position; and if it prove that we have done you an injustice, the more credit will be due to you by proving that we, in common with many more, have not sufficiently appreciated this new and rapidly-improving art.  The verdict being given  by competent parties in your favour, we will acknowledge that you have fairly won your spurs, and in future we shall freely accord that place to photography which it has shown itself worthy to hold.”  The Council, however, saw fit to stand on their dignity, the Commissioner felt they could yield no more; and between these two stools photography has fallen to the ground.  The opportunity that was afforded of enlisting the sympathies of all British photographers to exhibit the usefulness and beauties of their art to its fullest extent is past.

            How much more effective the Exhibition would have been if a central committee had been established with a comprehensive plan, and supported by the cordial co-operation of local committees, carrying out the details, as compared with individual efforts working without purpose or arrangement, no one can tell; but the results would certainly be very different.     

            There can be no doubt a great opportunity is lost; and however photography may gain, nothing like the benefit will arise that might have occurred had full advantage been taken of this rare occasion.  In the 1851 Exhibition photography was a crude, undigested mass.  Portions were to be found here, there, and everywhere.  Shimmering and glittering on silver, hard and wiry on albumen, woolly and foxy on paper.  Without natural guardians, it wandered about the great building, having a home nowhere.  It made a small lodgment among the ivory miniatures, was principally to be seen amongst the stationery, was frequently cropping out of the foreign department, and formed the only brilliant display in the deserted settlements and backwoods of the American department.  In 1861 it has its natural protectors:  they, however, are not adroit enough to keep it in their own hands, and cruelly allow it to sink or swim, rather than yield a little of their own opinion.  When we last assembled here the question was, should a committee be appointed to arrange the proper display of photography, seeing that the latter was placed in a mechanical department:  against this we all remonstrated.  As I have already said, another offer was next made, that as photography was suis generic, to provide a separate place for it—an offer which, under protest especially, might, in my humble opinion, without any loss of dignity, have been accepted; but this also was rejected, and matters are worse than at first, viz., our pictures are still left in their original mechanical location, without even the committee of photographers to overlook, arrange, and advise.

            Thus the matter stands.  While all other portions have gentlemen to superintend them who are learned and interested in the various details, poor photography stands alone.  Who is to take charge of it, or whether any one is to take charge of it, we do not know.  Whether it is to be placed under the tender mercies of the gentlemen who arrange the agricultural implements or the ship’s tackle we are in doubt; but as the pictures can neither arrange nor hand themselves, it is but natural that we should desire to know to whom they are to be entrusted.  It is also of the highest importance that we should know whether any plan or method is to be devised or recommended for intending exhibitors to conform to, be devised or recommended for intending exhibitors to conform to, so that the few fine days that may occur before the period for sending in pictures may fully be taken advantage of.  Will there be any endeavour to form a historical collection?  Is it desirable to forward the curiosities of the art?  Ought processes, as such, to be specifically illustrated?  Will morbid photography e admissible, that is, failures to which reliable causes may be assigned?  Will limitations be assigned as to size, quantity, or number of pictures?  Are negatives to be sent as well as positives?  Will any means be taken so that an instructive collection of the various dry processes will be seen?  Is there any principle of classification or arrangement to be adopted?  Are pictures to be grouped according to size, or subject, or exhibitor?  In fact, questions crowd on my mind  arising from a natural anxiety that justice should be done to photography, and from a fear that its arrangement may be entrusted to hands that even with the best intentions may not be able to grasp the character of the subject.  Had a committee of gentlemen of well-known ability been appointed, these doubts and fears would not have arisen, for the characters of the committee would have been a guarantee.  As matters stand it is extremely desirable that photographers should be furnished with this information.

            It must be borne in mind that this coming Exhibition is no common one, and that many variations may be required from the usual photographic displays.  Our usual Exhibitions are visited chiefly by amateur and professional photographers, their friends and acquaintances, and a small quantity of dilettante persons; the generality of folks never see, and seldom hear of them.  But in the forthcoming great show, the great stream of the people will flow past, and tens of thousands will see them who never saw a collection of photographs before, and never will again.  For this reason it is I regret that the occasion will not be improved to the fullest extent.

            But though it is no use making useless regrets, it is of the utmost consequence that the commissioners should quickly appoint some gentlemen of sufficient knowledge and technical experience, and, if possible, whose names are well known to photographers, to take charge of and arrange the whole.  It should be their duty to form a comprehensive plan, sufficient to embrace foreign as well as home photography, and to carefully follow that out.  Whatever directions are intended to be published for the guidance of exhibitors should be issued as soon as possible, so that all reasonable aid may be afforded them.  It is to be hoped that, undeterred by the adverse influences that have been in operation, our best men have been alive to their interests, and have secured adequate space, so that they may honourably shine by the side of their foreign brethren.  Lamentable, indeed, will it be, if in our own Exhibition we alone are found wanting.  What shall we say for ourselves, when all other artists are striving their utmost to sustain the national honour, that photographers alone make a mean display; and little short of national disgrace will it be, if, in the land of Herschel, and Brewster, and Wheatstone, and Hardwich, the works of her Bedfords, and Williamses, and Mudds, and Mayalls, and Claudets, and Laceys, and kindred artists, are not present in sufficient abundance to do honour to the great names of Talbot and Archer.

 

1861:  BJP:  Oct. 15, vol. VIII, #152 p. 364-365:

            Palestine in 1860; Or, A Photographer’s Journal of a Visit to Jerusalem.  By John Cramb, No. IX.

            Massacres in Lebanon—Cracking of Negatives Cured—No Dry Process—Bethlehem—Rachel’s Tomb—Solomon’s Pools.

            In the latter part of my last article I gave a brief account of a little bit of trouble I got into through having been supposed to be taking, without leave, the portraits of the wives of Turkish Pashas and Effendis.  Let me now very briefly tell how this little affair ended.  In true diplomatic style, no sooner had my complaint been made than a series of long dispatches commenced flying between the seraglio and the British Consulate, till in a few weeks, when the Pasha had returned, the thing had become a great grievance, which threatened, before being settled, to reach the ears of Fuad Pasha, at Stamboul, and Her Britannic Majesty’s principal Secretary of State for Foreign Affairs, at Downing Street, whoever he might happen to be.  While I had every wish for being amply protected against a repetition of the same thing, either to myself or any one else, I could not think of my little grievance being so  far magnified as even to travel beyond the officials at Jerusalem, the more particularly that before the case became at all ripe for any settlement more grave matters and more serious outrages, by Turkish subjects, called for the consideration of both Governments.  The news of the horrid massacres in the Lebanon had reached Jerusalem, and produced in the minds of the inhabitants very varied and mingled feelings.  The native Christians cowered and trembled; the lower order of the Moslems became sullen and insolent.  While many of the French Christians could well deny having manifested anything like fear, all were concerned for their own safety and those dear to them.

            As I was in Jerusalem during the excitement consequent on the hourly expectation of a repetition of those scenes of bloodshed and plunder which had been enacted in Damascus, and in the prosperous villages of the Lebanon—the mere outline descriptions of which made one’s blood run cold—I might have occupied a considerable space in describing the state of feeling in Jerusalem, and what we did to prevent an outbreak, and what provision we made for our defence in the event of such occurring; but, as I wish to bring these papers to a conclusion as soon as possible, I will not do so further than I cannot avoid in order to take my readers in some measure with me on my journey through the country.

            With such things to think of I was in no humour to higgle about the amount of compensation I should have for the damage to my “traps,” nor how much humiliation I should insist on for the slight personal injury I had received in my encounter with the Pasha’s black eunuch.  After a lengthened correspondence I went to the Pasha to prosecute my demands; and, after a long discussion of the whole question, I accepted the Pasha’s promise that he would severely flog his servant at his earliest convenience.  He was brought to me at once and made to kneel and kiss my hands and knees; and I presume I might have been kissed all over if I had had any peculiar relish for the operation.  It was not a very great penalty I was exacting, but, under the circumstances which I have referred to above, I was glad to get done with it in any way that seemed like being victorious.

            In the last number of my “Palestine” I promised to give an account of my visit to Bethlehem in this number, and, in connexion with it, to tell how I got over the difficulty of my pictures cracking.  I had never seen an albumen negative crack in drying before.  My views from Olivet, which had cracked, I was sure had acquired the tendency to do so after being silvered; but what it was that did it—not when—was the main question.

            On my return from a visit to  Bethlehem, I saw at a glance the exact when; and, by knowing that, I also was led to the discovery of the cause of the trouble.

            On taking out one of my plates from the slide I found that the film had not only cracked, but had peeled off entirely in many places.  I examined the slide, and found it intensely dry.  This I at once concluded was the cause.   An albumen film will not do to be perfectly dry.  I was confirmed in my conclusion that the dryness of the slide was the cause by remembering that my small or stereo. plates had never so split off or cracked.  If my readers will look at my stereo. camera, in page 265 of this Journal, they will see that the prepared plates are never brought near any wooden surface, but lie most of the time, from preparation to development, in a box with other similar plates against them:  they thus remain very much in the same state  as when we put them in.  If dry, they will keep so; if damp, they will so remain.  The cure for this evil was evident and simple enough, if my conclusion in regard to the cause were correct.  I put my slides in water, wetting every part well and frequently; and I never had a recurrence of cracking in my negatives afterwards.  From my experience in the last and some experiments I have since made, I believe the title “dry process” to be a misnomer.  There is no dry process.  I believe no picture can be taken without the presence of moisture; and I am quite sure I can easily make the materials for producing pictures so dry that only the most miserable result will be obtainable.  I would, however, rather give the result of experiments on this question in a separate form.

            Persons who have never been in such a climate as that of the higher parts of Palestine have no idea how dry the air is, and how dry things daily exposed to it become.  The driest day of the driest summer we ever have can give but the faintest idea of the ordinary condition of the atmosphere in Jerusalem.  And yet a large amount of water falls there every year too; but it does so pretty much at once, and not during the whole year, as in some parts of this country, where one would almost be led to the conclusion that the normal condition is that of rain.  I believe above eighty inches of water fall every year in Jerusalem, or rather more than three times the amount that falls in Glasgow, where there are upwards of two hundred rainy days in each year.  There is no rain for eight months in Palestine.  I did not see a drop of it from the day I set foot in it till I embarked again—some five months nearly.  Is it not a glorious country?  The land chosen of God for His own peculiar people is indeed one favoured of nature.  Why is it a wilderness and a desolation, trodden down by the Gentile?  How long will it be so?  There are questions that arise in the mind of every thoughtful student and every traveler in these lands.

            My instructions required me to take views of Bethlehem and Hebron, and several objects of biblical interest lying near the road to these places.  Hebron is about seven and a-half hours’ ride from Jerusalem—Bethlehem is less than two hours.  The true distance is scarcely in that relation—at any rate, as set down in the maps.  About an hour beyond Bethlehem, towards Hebron, are Solomon’s Pools, and between Jerusalem and Bethlehem is Rachel’s Tomb.  Both of these I wished to photograph.  After a good deal of consideration, I determined on doing Bethlehem, Solomon’s Pools, and Rachel’s Tomb, by themselves in one trip, as I could go and return in one day from the Holy City, while extending the journey to Hebron would require three days, and necessitate more baggage.  I could afterwards go to Hebron, and return, only requiring to be one night from my home in Jerusalem.

            Leaving pretty early, by the Jaffa Gate, we cross the valley of Gihon, and soon scamper over the plain of Rephaim.  Arriving at Mar Elias we lose sight of the Holy City, but soon exchange for it the view of Bethlehem in the distance.  Tradition has located some important scriptural events here, and the pious feeling of many nations invests this place with holy interest.  Personally I do not believe the tradition to be true—unbroken; and, therefore, I do not believe that the impression of the elbow of the prophet Elijah is on that stone so many are pleased to bow before.  Nor can I drink the water of that well in the belief that the “wise men” really saw the star mirrored in its surface, and were thus encouraged to prosecute their journey, and were guided to the goal of their desire on yon hill side, where now, whitening in the morning sun, is seen the Church and Convent of the Nativity; but which I do believe marks the true site of the birth of our Lord.  The tone in which some Protestant travelers in the Holy Land speak and write of the traditional sites of the holy places is, I think, much to be regretted—dismissing this or that place with the curt phrase, “a monkish tradition”—and pointing to this or the other as so and so.  What do we know except by tradition? And what knowledge is better?  Ten thousand thanks to the monks for preserving the traditions they got! and the pity of one who respects them much for the good they did, that they ever tried to add to the traditions they received by now and then drawing on imagination a little.

            Soon after passing Mar Elias we sight the tomb of Rachel—a holy place, alike respected by Moslem, Christian, and Jew.  There, as we approach it, some twenty or thirty Jews—all ages, young and grey-headed and of both sexes—have arrived and are entering to go through their devotions.  Very earnest and reverential they look.  I soon unpack my camera:  I take two pair of stereos, and an 8 x 10, repack, and am on my way again in twenty-give minutes:  no time list in that operation, at any rate!  A little farther on, and I determine on having a view of the City of Bethlehem, with the Church and Convent of the Nativity.  It will not do then—the light is quite off it:  I will take it as I return.  Meantime, I go over the ridge on which the city stands, and take a view from the other side.  It has the advantage of including the whole city (which the other will not do, unless in three views) except the site of the Nativity.  The exception is fatal to the interest of the view.  The other view from the east would just be rendered properly with a panoramic lens, as there is one point from which the view must be done, and from it the ordinary lens would require three views.  I was soon again on the way to Solomon’s Pools, walking our horses on the track of the aqueduct from these royal water-works.  Who would not think of it!  These reservoirs, the same that, three thousand years ago, supplied the capital of Solomon’s kingdom with water, are there before us, and a pilgrim from a far distant land is there to carry its sun-made pictures to his island home!  The Pools are three in number.  They are of considerable size, and are in a very good state of preservation.  The channel leading from them to the Holy City is still quite entire.  I took two pictures of both sizes, and returned by another way to Bethlehem, where I arrived early in the afternoon—too early to take the view I proposed.  I spent the time I had thus to spare in examining the interior of the Convent and Church of the Nativity.

 

1861:  BJP:  Oct. 15, vol. VIII, #152 p. 372:

            Foreign Correspondence.  Paris, October 9^th, 1861.  [Marseilles Photography Exhibition; photographic sculpture, photographs of engravings/stereo. puzzle image]

[…technical discussions]

…Let us enter the domain of reality, and speak of the successful commencement of M. Léon Duval’s explanatory lectures at Marseilles in connexion with the Exhibition now open in that city.  The first of these lectures was delivered on the 1^st of October to a numerous audience of both sexes.  The crowd was so considerable that more than a hundred persons were unable to obtain admittance.  This is an excellent symptom, and it proves the interest that photography awakens everywhere. The Marseillese are not willing to be left behind; and they are in the right.  They lack neither sunshine nor intelligence; and, judging from their eagerness to learn, we may hope that some of them at least may succeed in turning these two elements to profitable account.

The letter addressed by Mr. Cummings, of Lancaster (N.S.A.), to Humprey’s

Journal, and reproduced by the Moniteur de la Photographie, on a process for obtaining photographic pictures in relief, has led to the announcement from one of our Parisian artists of similar researches undertaken by him a long while since.  We have not seen the results obtained; but the artist informs us that, though not yet complete, they are far from being unsatisfactory.  The inventor of photographic sculpture, Villème, is about to open an operating-room in Paris.  Will the reduced bust have the same success as the visiting card?  The first advantage of this innovation, from an industrial and commercial point of view, will be its novelty; and that is a great attraction for the public.  Besides the plaster and marble portrait, M. Villème purposes working for clock and bronze manufacturers, and for cabinet-makers, whom he will supply with groups, statuettes, and ornaments at a cheap rate.

            I have lately seen some very fine equestrian portraits, executed at the various establishments consecrated to that branch of the art, which have been formed this year.  Great progress has certainly been made.  Among the pictures of turnouts I saw an admirably-executed two-horse calash, with coachman and footman, and four persons inside.  Each face was a complete portrait.  In the card style these pictures are very effective and successful.

            The firm of Goupil, the most important of our print dealers, have just commenced the photographing of all the engravings they have published.  This collection, which the objective is about to popularise, forms an almost inexhaustible storehouse.  The purchasers of the photographs will not in general be those who make collections of engravings.   Goupil will therefore have two publics for the same subject; and, while a taste for the beautiful will thus be excited and nourished, those who cater therefore will not, I think, be without their reward in the shape of goodly profits.   Ernest Lacan.

 

            New York, September 28^th, 1861.

            [….technical discussions]

            I have before me a stereo. picture, made by one of our skilful amateurs, which I am exhibiting at my office as a photographic curiosity.  I call it “The what is it?” the problem being to determine what it represents, and which is the top of the picture.  The first decision of the spectator is, generally, that it is a picture of a Chinese pagoda on a highly ornamented flower-stand.  This decision is, however, weakened by a closer examination, and by the uncertainty as to which end the object stands on.  The imagination may now come to the relief of this bewilderment, and decide that a burlesque statue of a soldier or a boot-jack is represented.

            Now the interest of this mystery is greatly heightened by the fact that the picture is a very good photograph, sharp, distinct, and full of detail.

            The explanation is this:--The camera’s station was taken on the bank of a small lake.  The opposite bank was straight, the water was perfectly quiet, and the landscape was doubled, the joining being the water line along the middle of the picture.  The trees, rocks, &c., with their corresponding reflections from the water, give the appearance of the symmetry of ornamental work.  A small house peeping through the trees destroys at once all the illusion.   --Charles A. Seely

 

1861:  BJP:  Oct. 15, vol. VIII, #152 p. 372-373:

            Photographs by Moonlight.

            In a late number of La Lumière, M. Gaudin, after extracting from the pages of an English contemporary an account of some photographs lately exhibited at Birmingham by Mr. Breeze [Breese], and alleged to have been taken by moonlight, comments as follows:--  

“I had read this description on its appearance, but I considered it what it really is—a puff addressed to rich English lords; but, as it has come into France without having been contradicted, it is necessary to look into it.

“In my opinion these impressions are the result of faint instantaneous proofs obtained in broad sunshine, and it is their intended faintness that produces the effect of moonlight, for we are infinitely far from being able to produce, photographically, anything by the light of the moon; the whole night would not suffice; and even with that, the shadows would be so much displaced, that we could only obtain views covered with spots.

“Do not let us forget that, in reality, the moon, although it presents the contrary idea, gives three hundred thousand times less light than the sun.  No photographic artifice can alter that; and if we can now obtain a negative for the stereoscope in a tenth part of a second of time in the full light of summer, we should absolutely require three hundred thousand times as much time by the light of the moon, supposing her to remain in the meridian in winter during the whole of the necessary time, which would occupy eight hours; and on account of the weakness of the light in proportion as the moon had risen, and the necessity to use dry collodion, which acts about ten times as slowly as other collodions, it can be said with certainty that, at present, no one can obtain a negative of an object by the light of the moon, using, under the most favourable circumstances, the whole of the night for the exposure.

“With regard to the impression of the moon herself, which is scarcely as bright as a cloud, it would be produced almost as quickly as the background in daylight; but nothing that she shone upon could be produced without an exposure exceeding the length of the entire night.  Comets, like the moon, gives us only a reflected light; and, in order to have reflection, it is absolutely necessary that they shall be incidence of the light upon a surface of a liquid or solid material.  This is probably what takes place with the comets.  Their development is immense; but the particles of which they are composed are so isolated, and generally of such great tenuity, and separated from each other by long intervals, that the luminous intensity of these heavenly bodies is in inverse proportion to the space which they occupy.”

[SEE reply Dec. 2, 1861, issue #155, p. 416]

1861:  BJP:  Oct. 15, vol. VIII, #152 p. 373:

            Photography Applied in a New Direction.---The Mettray Colony, near Tours, is a well-known reformatory for youthful convicts.  The moment a young rascal enters the precincts of this house of correction, he is obliged to grant a sitting to the photographic artist of the establishment, and a similar proceeding takes place when the urchin makes his exit after undergoing his term of imprisonment.  In a paragraph now going the round of the papers it is said that the first portrait represents the rags, dirt, and misery, the physical and moral degradation, the prematurely careworn features, the scowling, cowering, timid, uneasy, and withal ferocious look of the born thief.  The second shows the same individual transformed bgy the magic of judicious discipline, which includes physical comfort and kind treatment:  his dress is now clean and neat, and his countenance is redolent of health, contentment, self-confidence, benevolence, and energy.  Philosophy had never, in any age, grander subject for contemplation than two such pictures.

 

1861:  BJP:  Oct. 15, vol. VIII, #152 p. 374:

The Late Mr. Howlett.  To the Editor.

Sir.—The fact that I included in my list of errata in the late Exhibition at Manchester [BJP: Oct. 1, 1861, vol. VIII, #151, p. 344-347] the name of a deceased artist, does not, in my opinion, invalidate the inference I drew.  I was fully aware of poor Howlett’s untimely death, and for that reason should have been glad to have seen some of his pictures—that of the Great Eastern, for example.

Few exhibitions would be considered complete without an old master of two.  Mr. Doyle’s picture sale is almost entirely made up of them, and as this was not advertised as a collection of works of living artists I do not think such omissions should have been permitted.  With regard to my own omissions, which are many, I must crave the indulgence of your readers in what I have said.  I have endeavoured to do so in a plain outspoken manner, at the same time wishing, “nought to extenuate, nor set down aught in malice.”  I am, yours, &c.  Σ

 

1861:  BJP:  Nov. 1, vol. VIII, #153, p. 386-387:

            Stereographs.  Instantaneous Views, photographed by William Hanson, Leeds.

            Instantaneous photography is a branch of the art in which much has been already accomplished, while more looms in the future.  In its practice it is one most trying to the patience, because in skilful hands the approach towards everything that can be desired is so far attained that the artist is constantly spurred on to yet one more trial, in hope that the trifling defect which has spoilt his preceding attempt will be avoided in the next one.  The fact is, that to produce something fair in this direction is easy enough; to produce something good is very difficult; while to produce something perfect demands little short of miracle for its accomplishment.

            The successful practice of instantaneous photography requires qualities in the operator that are found combined in but few individuals.  He must be an artist in the highest sense of the word or his productions will be utterly valueless.  It is his aim to fix the transient effects which pass away swiftly as the smile from the face of a child.  The subjects worthy of his attention are precisely those which exist only for a moment—“which come like shadows, so depart.”  The street and river scenes, for instance, are the mere accessories of his pictures.  It is the rippling wave, the changeful clouds, the surging crowds and prancing steeds, ever being grouped and re-grouped—now in mere disorder, now in picturesque confusion—that form the real subject of his studies:  hence it is not the successful delineation of a well-chosen view that will satisfy his exigeant conditions, but it must not be spoiled by the disorderly grouping of the living elements, or by the want of balance produced by the untoward phases of the other moving portions of his subjects.  Besides all other demands, that of time is more exacting than all the others put together.  The instantaneous operator, therefore, must have a quick eye for observation, should be free from nervous excitement, should have considerable knowledge of chemistry, and possess the power of delicate manipulation.

            It is evident from the specimens before us that Mr. Hanson possesses a fair share of all these requirements.  We cannot truly assert that, as a while, they equal the best of Mr. Wilson’s productions; but we can honestly say that many of them he would not be ashamed to own, while all evince a very large amount of care and skill employed in their delineation.  There are two views of

            Sackville Street, Dublin (No. 509), both taken from the same spot, and differing only in their animated portions.  In one the natural clouds are perfect and distinct, probably owing to a slightly longer exposure, but the figures in the foreground have consequently suffered somewhat:  in the other the passengers are admirably delineated, and both are really good.

            A Scene on the Mersey, Blowing Off Steam (No. 517), is a truly artistic production, and one that would be honourable to any photographer, possessing, as it does, the most complete harmony and gradation of tone throughout, while the sky is a perfect study of itself, presenting that indefinable charm which we can best express by the term “poetical.”  The while cloud of steam from the vessel is well relieved against the darker portion of the sky, and its graceful outline is in excellent “keeping” with the natural clouds.

            Dropping Anchor (No. 516),  another scene on the Mersey, is equally good in execution; but, though the natural clouds are in this also perfectly delineated, they entirely lack the picturesque charm of grouping noticed in the preceding, while the view of The Great Eastern (No. 515), excellent as it undoubtedly is, appears to have been taken during an impending storm.

            The Royal Irish Mail Steamship Leaving Holyhead (No. 504) is a striking picture, though a trifle under-exposed, and forms a singular contrast to No. 517.  In this the sky is of an uniform light grey tone, against which an enormous cloud of dense black smoke, in grotesque contortions, is vomited forth from the four funnels of the steamer.  It is, of course, this mass of smoke which forms the real subject of the picture, though it would scarcely do to designate it by such a title as “mass of smoke.”

            Several Welsh scenes possess points of interest, though in some the outline of the mountains cutspainfully hard against the sky, especially those of Llanberris and Nantle.  But in

            Snowdon, from Llyn-Y-Dywarchen (No. 514), the hard outline of the nearer portion makes a tellijng contrast with the distant one, where the rolling mist obscures it in its cold and clammy embrace.  Similar observations apply to No. 513, The Valley of Nantle, with Snowdon in the Distance.

            The South Stack Lighthouse (No. 505) is a very telling and pleasing subject, well executed:  the bluff, bald, broken rock, against which the sea washes, breaking into foam, is crowned with the pillar-like lighthouse, round the base of which a few cottages are clustered.  The sea and sky, nicely blending at the horizon, form a fitting background; and the numerous foam-crested waves of the former break the monotony without disturbing the attention.  This is an excellent slide.

            Of a similar class are two Views of the Anglesea Coast (Nos. 506 and 507), one looking northward and the other southward from the South Stack Lighthouse.  Both are excellent, and form a very charming pair of subjects—closely allied, yet well contrasting.  The Bridge Connecting the South Stack Rock with the Main Shore, near Holyhead (No. 75), is picturesque; but, owing to a little over-development, it is not equal in execution to the others named.

            Such a production as the one on which we have particularly dwelt, No. 517, would alone be sufficient to establish the reputation of a photographer; but Mr. Hanson has proved that his skill is not dependent merely upon fortuitous circumstances.  It is not possible to command such exquisite combinations of natural objects at will as those which we find grouped in the picture to which we make allusion, but none but an artist would have seized the happy moment for recording them; and in the other subjects mentioned we have nothing to allege against the manipulation.  We hail Mr. Hanson as an acquisition to our list of artist-photographers, and heartily wish him success.

 

1861:  BJP:  Nov. 1, vol. VIII, #153, p. 388-389:

            Palestine in 1860;  Or a Photographer’s Journal of a Visit to Jerusalem.  By John Cramb.  No. X.

            Bethlehem—Church of the Nativity—Industry of the People—Female Beauty—Hebron—The Tomb of Abraham.

            Next to Jerusalem the most interesting place in the Holy Land, to the Christian, is Bethlehem, and the central object of attraction in it is the Church and Grotto of the Nativity.  That the modern Beet Lahm is the true scriptural Bethlehem of Judea there is not the slightest doubt:  nor should there, we think , be much in regard to the site of the Nativity.  The place which has received the title for, at lest, some sixteen hundred years, and which has been visited and written about during every century, should not be readily denied that respect which we are disposed to pay to the humble birthplace of Him “who spake as never man spake.”  I have no patience with the spirit manifested by some recent Protestant, particularly Presbyterian, travelers in Palestine.  I had the company of an American Presbyterian minister who could not disguise his skepticism regarding the traditional holy places at every turn.  I went to the Holy Land with much of this feeling imbibed from those who should have taught me better; but my convictions have never allowed me to sneer at anyone’s belief, whatever it may have been.  Perhaps that habit of thought saved me from acting as I have said too many of my co-religionists do in regard to such places as the site of the Nativity, of the Garden of Gethsemane, and the Holy Sepulchre.  Under the impression that there were such localities as the holy places in Palestine, and that the title “Holy Land” was not a misnomer, I considered that the application of photography in obtaining reliable pictures of those sacred spots for such as could not themselves visit them, was in reality an honourable and worthy undertaking.  If there were no such places to make pictures of, then the whole thing sank into a piece of religious humbug, and should be allied with the mere manufacture of doubtful relics.  That there may be something of the spurious mixed up with the real and true in what one is asked to believe in regard to the holy places I at once admit; but that is no reason for wholesale skepticism or continual sneering.  A Scotch Doctor of Divinity, who has written the description for some of the views that I took, has fallen, I think, into a grave error in the fulfillment of the task assigned to him.  The picture purports to be the picture of so and so:  the learned doctor’s description says in several cases that “there is not the smallest reason for connecting this place with” so and so.  This I esteem an insult to the purchaser of the picture.  I am the more induced to mention this circumstance, as in the description written by me I have either carefully avoided giving an opinion, or have frankly acknowledged my belief in the truth of the tradition which connects the place represented with the event or thing with which it has been so long associated.

            Bethlehem is one of the most thriving villages in Palestine.  It contains, it is estimated, about 3,000 inhabitants.  They are all Christians.  The remnant of Moslems which remained in it was rooted out by Ibrahim Pasha during his brief occupation of Syria.  The people of Bethlehem are said to be very turbulent.  I can speak more decidedly to other qualities as having come under my own observation.  They are most industrious, doing, indeed, a large part of the work of Southern Palestine.  Everywhere one finds Bethlehemites plying every industrial craft, and the sound of the shuttle, the anvil, and the lathe are as common in Bethlehem as they are rare everywhere else in the country.

            The women of Bethlehem are generally fair and always beautiful.  Every traveler remarks that; and, I believe, their beauty is celebrated throughout the east.  I may remark that I thought some of the men fine models of humanity.  Sincerely did I regret the arrangement that denied me the pleasure of bringing home witnesses to the correctness of my judgment on this point.  But I was not expected to spend my time on such subjects, though I now think it a pity that I was so scrupulous in the discharge of my duty.

            The object of supreme interest in Bethlehem, as I have before observed, is the site of the Nativity of our Lord.  It is a grotto, having a splendid church erected over it, and several other grottoes clustering around, as might reasonably be expected.  One of these, called the Grotto of Saint Jerome, was beyond controversy the residence of that father of the Church for many years.  I cannot, of course, in the space allotted to me describe the various buildings forming what goes under the title of the Chnurch and Convent of the Nativity.  Each of the three great sects of Christians—Greek, Latin, and Armenian—have chapels in it, the Grotto of the nativity being common to all.  In the floor of this grotto there is fixed a silver star, and round it, in the same metal, are the words—“Hic de Virgine Maria Jesus Christus Natus Est.”  Near it a plain altar is erected, which each sect decks out with what it deems necessary for the due performance of its devotions.  When I visited it a priest of the Greek Church was lighting and trimming numerous lamps, and arranging the other religious ornaments his creed required.  Of course I could make no picture of this place, but I shall not soon forget its appearance.

            Before taking the view of Bethlehem, for which I was waiting, I went a little below the Convent and took a view of the plain where “the shepherds were watching their flocks by night” when the angel of the Lord appeared to them with “good tidings which shall be to all people.”  This makes a fine landscape; and but for the white sky which the publisher demands, and which is easier to be out of the way than to be put in, would, I think, be a fine picture.

            After taking all the views on which I had fixed I returned to the Holy City, and developed some the same evening—others several days after.  I found no difference between those I developed at once and those I postponed in this case; though at other times I did, and rather preferred to finish my pictures as soon as possible, generally.

            The temperature at this time was usually about 85˚ in the shade, and 120˚ to 130˚ in the sun.  During the months of July and August the thermometer seldom fell below 95˚ in the shade, and generally stood about 105˚, while in the sun it rose to 160˚!  It was pleasant to ride under that heat for eight or nine hours!  Any tendency to decomposition in excited plates was soon shown under such circumstances.   I may say that every plate I exposed in this Bethlehem trip has been published, and that was frequently the case with me.  That speaks favourably, I think, of the certainty of the process I practiced.

            In my next article I will give an account of my visit to the Dead Sea and Jordan, where I was less successful, though more successful than several wet-plate operators who had preceded me.  I am quite sure, from my own experience, that a good dry process is best adapted to the requirements of such a journey as I was on:  yet, I dare not presume to doubt the possibility of being successful with a wet process; but to be so would be much more difficult.

            It was some time before I could arrange to start for Hebron, and by the time I could do so the danger of traveling in the country had much increased—or at lest the fear attached to so doing had increased, inconsequence of the mews of the frightful massacres in the Lebanon.  The people of Hebron are very bigoted Moslems, and have the reputation of being turbulent and lawlessly disposed.  I arranged to prepare my plates in Jerusalem, and to develop them on my return; and, as I particularly wished to be in Jerusalem in two days from the time of starting, I purposed remaining only one night from my residence in the Holy City.

            I had arranged to leave early, but my muleteers had no such intention, so it was nearly eight o’clock before I was clear of the Jaffa Gate.  The same perverseness which made us late in starting kept us long on the way, so that the light was far gone before I got in sight of Hebron.  What a lovely place it is!  How beautifully the city stands, protected one very side, in the luxuriant valley of Eschol!  Who will say that this land is cursed?  Look at those grapes!  It is a garden!—a land waiting for the smallest amount of labour to produce the most abundant crops!

            It was half-past five as we walked our horses at a leisurely pace through this fruitful valley.  I hastily dismounted when we had arrived opposite the Sanatorium, our proposed camping ground for the night.  My Nubian soon had my camera unloaded, and I at once proceeded to take a view.  I had not had time to see if this were the best point.  I perceived it was a good one, and that the light was just suitable; and if I neglected getting my view then, I could not get the same till next day at the same hour, when I hoped to be far on my journey back to Jerusalem.  I exposed five 10 by 8 and ten stereo. plates before sunset, making a hasty dinner at intervals.  Had I been working a wet process, the chances were I should not have been able to get a single picture.  A friend who accompanied me to Jerusalem, and who worked by the wet process, had just got his apparatus in position and a plate prepared, when he had the mortification of seeing the sun drop below the horizon, which it does in these latitudes in a very precipitate manner, leaving the spectator in nearly total darkness in a moment.  The last 10 by 8 plate I exposed was just before sunset, and so dark did it become at once that I required a torch to enable me to undo the fastenings of my camera, and I had a difficulty in finding my way to the tents.  This picture will be recognised, by those who have seen the published views, as the one of Hebron, with the Lazaretto in the foreground.  I developed one view the same evening in my tent, leaving the others till my return to Jerusalem.

            Next day I found on riding round the city that I had got the best point of view for including in my picture of Hebron the Cave of Macpelah, where repose the ashes of Abraham and his wife and sons.  This holy place is closed to all but the followers of Mahomet, who guard it so carefully that no Jew or Christian has ever been allowed to approach the grave of the father of the faithful for at least six hundred years.  Our knowledge of the place is therefore the most meager.  It is not doubted, however, that the Harem does enclose it.  The great Mosque of Omar at Jerusalem has been more or less open to travelers ever since the Crimean war; but this at Hebron has never been accessible.  The authorities have not power enough at commend, even if they willed it, to admit unbelievers, as we are called.  The people, as I have before remarked, are very bigotted Moslems.  Some travelers have said they were not permitted to approach it.  Our party, under the guidance of the doctor at the Quarantine station, went up to the principal entrance and walked quite round it.

            On my way back to Jerusalem I visited the oak which, it is said, is the identical tree under which Abraham pitched his tent.  I took a picture of it.  A noble tree it is, the last of the once flourishing forest of oaks at Mamre, and if for nothing else than this it deserves its celebrity, linking us as it does with the events of three thousand years ago.

            I hurry back to Jerusalem where, for the present, I again rest for a little.

 

1861:  BJP: Nov. 15, vol. VIII, #154, p. 405 – GET PAGE #S!!! and COPIES

Photographic Competition.  Award of medals at Exhibitions and Elsewhere.  By John Cramb. [response to this review in Dec. 1, issue #155, p. 424-425]

Some difference of opinion exists among the friends of photographic progress in regard to the wisdom of awarding medals at our Exhibitions, and the results that have flowed from the attempts yet made have not proved at all encouraging—rather strengthening the hands of those who oppose such awards than being at all calculated to lead societies, or conductors of Exhibitions generally, to adopt the plan of offering prizes for excellence in photographic productions.

This state of things is, however, in no way peculiar to photography.  A considerable section of the thinking part of the competition of any kind, holding that more harm than good is done by them.  And, then, they say in principle the practice is wrong, appealing, as it does, to a base part of our nature.

It would be too large an affair to argue out the whole question now:  space would not permit it, and it is, perhaps, undesirable.  Sufficient that it is understood and granted that photographic competitions are in exactly the same position as other competitions.  It is, perhaps, not in accordance with British prejudices to be given to wearing medals.  It may be more characteristic of, and congenial to, our Gallic neighbours.  Though there perhaps will come a time when such trappings will be disregarded and discarded; the fact stands out that the tide of popular feeling and general practice has been flowing in the opposite direction.  Has not more than one new “A order of merit,” as the phrase runs, been instituted within the last few years?  Instead of disregarding the antiquated and meaningless orders of the “Bath,” “Garter,” &c., is there not rather a keen interest manifested by the public in them, and loud expressions of indignation heard when the dispensers of these rewards have neglected to consult public opinion in their appropriation?  The feeling of the people seems to be—not to abolish, but to reform them; to define their uses; and to decide to whom and for what they are to be given.  This is consonant with the true British spirit of progress in everything—to take things as they are and improve them if we can, and as fast as we can; but not to abolish what exists, merely in order that we may make a fresh start, unencumbered by anything relating to the past.

The mere idea of awarding medals is consistent with the spirit of the age:  let the manner of doing it be so also.  The best men in the photographic world have either given no attention to the subject, or have directly opposed competition for any other purpose than that of doing what is effected for its own sake—not for the mere purpose of obtaining a medal or of securing the commendation of a jury.

The Photographic Society of Scotland was among the first to offer medals for the most excellent pictures at its Exhibitions.  There can be no doubt that, besides perhaps a wish to advance our art, the Council of that Society had also in view to make its Exhibitions more attractive.  What has been the result?  The Exhibitions have been regularly, year by year, more and more unsuccessful, till last year, as some critics said, there was some difficulty in finding a picture worthy of a medal.  It was certainly a small, and far from a high-class, Exhibition.

Again:  only lately, the Birmingham Photographic Society announced the intention of holding an Exhibition, and proposed awarding medals for certain classes of pictures.  Instead of a large collection, fully representing the position of our art, the Committee could not get as much as would make a decent opening till long after the advertised time; and, even after two months’ persistent application to the photographic world for contributions, it was a complete failure, both as regards quantity and quality—perhaps the most meager Exhibition every opened.

In the case of the Edinburgh Exhibition, it was the past conduct of the Society which produced the defective result, and the Birmingham one  in a great measure suffered on that account.  There was no intention on the part of any one to act unfairly, or to do aught that could possibly injure the Exhibition, or in any way retard the true progress of photography.  The Council of the Photographic Society of Scotland is composed of gentlemen above the suspicion of being guilty of a dishonourable, far less of an unjust, action; but they may have done unwittingly what resulted in an injustice.  At the first Exhibition at which they announced that medals would be awarded see how the plan was carried out [sic].  Medals were to be awarded!  Who was to award them? And for what were they to b e awarded?  No information was furnished on either point till the pictures were sent in.  What! Run a race without knowing the course, or where the winning post is?  Ultimately the whole society, unannounced, acted as the judges!  The second year there was no preliminary intimation of how the awards were to be made.  Photographers were simply told that their works were to be judged—but were not told by whom—if sent to the Edinburgh Exhibition.  By-and-by it oozed out that the Council was not pleased with the previous year’s plan of award, and that it proposed going to the other extreme, and only one judge was to be appointed.  It was hinted that there was some difficulty in finding any one brave enough to undertake the onerous duty.  The selection, however, fell on a highly competent gentleman, Mr. Horatio Ross.  But why, if this were to be the plan, did not the Council inform intending exhibitors beforehand?  They would then have known what to expect.  Photographers, like everybody else, have their likings and dislikings.  If, for instance, one gentleman that I could name were to be sole umpire on such an occasion, any intending competitor who knew that he had a monomania against white skies would know also that there would be no use in sending a picture with a whit sky, however excellent in every other respect it might be.  One man’s judgment might possibly be in itself objectionable, but still it would be much better than that of a tribunal the constitution of which is unknown till the Exhibition is opened.  The turf has not the purest moral atmosphere.  Does any one doubt which horse really won the “Derby” last year?  No!  The Conditions of competition were so definite that, any one aware of them, by using his eyes could satisfy himself.  If there had been any doubt, there was an umpire appointed, and before the race was commenced he was known to be competent for his office, and was placed in a known position where he could judge of the result of the race.  In photographic competition there has been hitherto nothing definite as a starting point; no looker-on could tell who had won, because the conditions of competition were left undefined, but were so most probably from the incompetence of the promoters to deal with the question.  If is much easier merely to say we will give a medal for the best landscape, than to say so with such additional particulars that any one having the use of his eyes could tell which picture in a collection deserved the medal.  What is the object of offering such medals?  To aid the progress of our art?  If that be the object, then limit the competition as much as possible.  Compare similar results.  What is required to e rewarded?  Is it not transcendant skill in producing a photographic result?  Is not every collateral circumstance to  be taken into account?  Would it not be well, in some cases, even to inquire whether the picture was the result of skill—a plan of working—or the mere result of a happy chance?  To test that, would it not often be well rather to require that several pictures off equal merit, or of an aggregate merit, should be sent in?  Surely there could be no objection either to mark with approbation the one excellent picture, too; but by all means stamp with your approbation the more than mediocre productions of the artist who, though he shows no transcendant picture, shows twenty which are   GET REST.

 

 

1861:  BJP:  Nov. 15, vol. VIII, #154, p.408-409:

            Recent Publications.  Series of Cabinet-sized Photographs, taken by S. Thompson.  Including the Waverly Photographs, Places of Historical Interest in England and Scotland, Reproductions, &c. (London:  A.W. Bennett, 5, Bishopsgate Without.)

            What is a cabinet-sized picture?  We fear that it would be difficult to obtain a more direct reply to this question than that given by the cautious witness when under cross examination relative to the size of an article that had been stolen—the nearest definition that he could be brought to state being “that it was about the size of a lump of chalk.”  However, if the specimens before us be cabinet-sized pictures (and we are not disposed to dispute the assertion) they measure from about eight and a-half inches by six and a half-,to ten by eight inches.  We presume that the term is intended to convey the idea of convenience for handling and fitness for close inspection, which these specimens do undoubtedly possess.  It may be a mere fancy on our part, but we certainly do prefer photographs of the dimensions quoted to those of a larger size, which always appear to us cumbersome and inconvenient.  As a rule, large photographs are both too large and not large enough:  too large for the folio—not large enough for mural decoration.

            Mr. Thompson is evidently of the same school as Mr. Bedford, than whom no better model can be selected.  Not that we mean to insinuate that he is a servile copyist of this gentleman’s style, but that he belongs to the same class.

            The Waverly Photographs comprise scenes in the home—Abbotsford; the favourite haunt—Melrose; and the last resting-place—Dryburgh—of Sir Walter Scott; scenes that are familiar to most photographic connoisseurs, and that have been rendered by many operators, professionals as well as amateurs.  Amongst these before us, that representing the South Side of Melrose Abbey is certainly one of the finest, whether we regard delicacy of manipulation or picturesqueness of effect.  The point of view whence this beautiful ruin is delineated is well chosen, the light falling obliquely, so as to give the full rich architectural details of the fine south window, enhanced by the transparent shadows cast by the projecting mouldings.  The various tones of this picture are exceedingly harmonious and pleasing, the only fault of the production being an absence of sufficient sky-room above the building.

            The printing of this specimen, as indeed of the whole of the series, is highly commendable.

            The South Door of Melrose Abbey is a beautiful study (more than the others approaching to Bedford’s productions), and admirably executed.

            The East Side we do not admire so much, though equally perfect as far as manipulative skill is concerned, in consequence of its having been taken too full-face, to borrow a phrase from the portrait-room.

            The East Window possesses much value as an architectural illustration, and is, withal, a very pleasing subject:  it, however, in our opinion, suffers materially in consequence of distortion of the perpendicular lines at the margin of the picture, produced, most probably, from turning the camera upwards in order to include the whole of the subject.  This we regret to notice also in some others of the series, especially those in which the height of the picture exceeds the breadth.  In all probability it was not possible for the artist to get sufficiently far away from his subject to avoid this annoyance, as he has evidently too much artistic skill to submit to such a defect, unless he were reduced to the choice known as “Hobson’s”—that or none.

            For richness and brilliancy of effect, combined with exquisite softness, The West Front of Melrose Abbey perhaps surpasses the whole.  Shadows the most intense, yet clear and transparent, with every gradation of tone up to perfect white, may be found in this specimen, each one in the proper place, giving an excellent illustration of the value of subordination, so well descanted upon recently in these columns by our contributor, Mr. A. H. Wall.

            The general view of Melrose Abbey was taken when the sun was obscured; and, though a perfect record of the external form of the edifice, it lacks the spirit of the place from a total absence of shadow, and is consequently somewhat flat.

            Dryburgh Abbey has little to recommend it beyond its historical associations:  such as it is, however, it has found an able delineator in Mr. Thompson; and Sir Walter Scott’s Tomb therein, though in itself a commonplace affair enough, has, by the skill of the artist, been converted into quite a poetic study.  The arch of the cloister under which the tomb is situated has been taken from a spot whence it can only be seen through another nearer archway and the openings between some yew-trees, which with ivy and brushwood form, as it were, a rustic framework, the value of which is still further enhanced by vignetting.  This is sure to be a popular specimen.

Space will not permit us to do more than mention some of the more striking of the subjects belonging to the other series, amongst which we find

            The Statue of Newton, by Munro, recently placed in the new Museum, at Oxford.

            The Quadrangle of Brazennose [sic]College.

            A Portion of the Garden Front of St. John’s College.  This is highly picturesque; and owing to an excessive obliquity of the sunlight, the shadows, oddly projected, impart to it a curious though charming grotesqueness.

            The Entrance to the Hall and Chapel of Oriel College would have been a delightful picture but for the bending inwards of the marginal lines.

            The Martyr’s Memorial, at Oxford, is rendered effective by vignetting; and the same judicious treatment has been adopted with several of the less ornamental halls and colleges at Oxford.

            But, of all the Oxford illustrations, that which will most likely be preferred is The Cloister Tower of St. Mary Magdalene’s College.  Though rather prim, and with a horizontal line nearly cutting the picture in two parts, there is something uncommonly taking about this subject, albeit deservedly open to adverse criticism on account of sins against several rules of art.  The photography is pretty well perfect; and the graceful festoons of the ivy in contrast with the architectural lines of the arches curved in an opposite direction, combine to seduce the approval of the beholder in spite of the artistic defects already alluded to.

            There are two views of the garden front of Knole House, Sevenoaks, Kent, that recall pleasant recollections of a ramble therein, and still more pleasant memories of the cool shade under the glorious old beech-trees in Knole Park.  What a pity they are not included in the series!

Hadlow Castle, Kent, is a pleasing subject, and well treated.

Before concluding we must not omit to mention a number of reproductions of engravings, &c., including Happy as a King, “Let him that is without sin first cast a stone at her,” Musiciens Ambulous, &c.  These are all perfectly and brilliantly reproduced, which is all that lies in our province to state:  to criticize the subjects would be to go beyond it, as their merit has nothing to do with the photography.

The printing and general getting up of the whole are of the best possible character.

 

1861:  BJP:  Nov. 15, vol. VIII, #154, p. 409-410:

            Exhibitions.

            On Saturday, the 9^th instant, a collection of nearly a hundred specimens of “Pictures in Enamel Colours Burnt in on Glass, from Photographs, Drawings, and Engravings,” was exhibited to a very numerous though select circle of photographers and other art-amateurs by M. Joubert, at his residence, 36, Porchester Terrace, Bayswater (London).  It is well known that the basis of each picture operated upon by M. Joubert, whether the original be an engraving or otherwise, is transferred to his glass plate by a photographic process.  This is afterwards burnt in to the glass itself, and remains indelibly fixed as a subject in monochrome; or it is subsequently painted upon by hand with enamel colours, the plate having to be “fired” after the application of each different tint.

            Although we have before given some particulars of M. Joubert’s process, the following extract from his patent specification may be acceptable to many of our readers:--

“This invention has for its object improvements in reproducing photographic and other pictures, engravings, prints, devices, and designs on the surface of glass, ceramic, and other substances requiring to be fired, to fix the same thereon.” [next 5 paragraphs consist of technical description of the process]

 

            A further step in advance is the occasion of the present Exhibition, the application of colour to the photograph being now effected with more certainty and facility than has been the case hitherto.  The process appears well calculated for the purpose of house decoration, at moderate cost, by providing a good substitute for painted windows, including subjects far more minute in detail and artistic in treatment than could be ordinarily obtained by manual dexterity.  That there is much to be yet accomplished before the art can be considered as having arrived at maturity, it would be folly to deny; but its entire practicability and commercial success is now beyond a doubt.

            We may make a few remarks upon the specimens exhibited, many of which are surrounded by, or rather placed in the centre of, borders of a damask-like character, formed by ground and transparent glass intermixed, with a clears medallion-shaped space left for M. Joubert’s operations.  Copies of engravings and lined drawings in monochrome leave nothing to be desired.  A copy of Sampson and the Lion, reduced by photography, is an excellent example of what can be done in that direction; and whast is perhaps still more satisfactory is a copy of The Irish Lovers, taken by direct application of the paper engraving to the sensitive surface on the glass.  These are both sharp, clear, distinct, and perfect as can be wished for.

            The monochrome copies of photographs are many of them somewhat deficient in the more delicate half-tones; but there is indisputable evidence that this is due, when it occurs, rather to some deficiency in the original or in the photographic part of the manipulations than essentially to the process.  A Garden Wall, from nature, the subject being really a study of leaves—A Faun Dancing, being a photograph from the marble—and Savoyards, one from nature—are illustrations of photography proper thus applied.

            With regard to the coloured specimens, the first impression which we received on entering the studio was that of the existence of too much brilliancy, that gave somewhat the meretricious appearance of coloured lithographs.  This, however, is a defect which no doubt will e corrected as the art advances, as well as that of an amount of coarseness in the foliage of some of the landscapes due to the touch of the artist, which contrasts unpleasantly with the delicacy of the photographs.  In some specimens, instead of attempting to paint over the subject, the artist has in our opinion much more judiciously washed in a tint, leaving the photograph itself to produce the variations of tone required; and this is the case with the most satisfactory of all the coloured specimens, viz., Wortley Hall, Lancashire (from nature), wherein the foliage is but little interfered with, and atmospheric effects are fairly given.  Next in order of excellence we consider a Scene near Dundee, and a Scene on the Thames—we mean, of course, as illustrations of the polychromatic process.  It is but right to remark that the application of many colours presents difficulties in addition to those dependent on the “firing” of the plate after each application, because not only is the colour applied quite different in tint to that which it assumes after passing through the kiln, but the application of one colour over another sometimes brings about very unexpected results.

            There is one direction in which we think it is premature to employ M. Joubert’s patent, until greater progress has been made—we mean that of portraiture—an unpleasant grotesqueness of aspect being generally imparted to the victims whose “counterfeit presentments” have undergone the operation of an auto da fé.  There are two small specimens upon white enameled glass that are exceptions; but even these lack brilliancy.

            Some of the smaller subjects have been adapted to the adornment of transparent lamp-shades with very good effect, and, no doubt, they would answer well also for hall lamps.

            We have little doubt that rapid strides will soon be made towards perfecting this very useful invention.  Already M. Joubert has more orders than he can well supply, and a little extra pressure put upon that gentlemen will compel him, in spite of himself, to exercise anew his inventive faculties, in order to meet the demand, which will assuredly increase.

 

1861:  BJP:  Dec. 1, vol. VIII, #155, p.416:

            Moonlight Stereographs.—Our readers will no doubt recollect some remarks published a short time back by M. Gaudin, [1861:  BJP:   Oct. 15, vol. VIII, #152 p. 372-373] indicative of his conviction that the Stereographs by Moonlight mentioned in the pages of our contemporary, the Photographic News, as having been executed by Mr. Breese, of Birmingham, were really taken by sunlight, and further giving very philosophical reasons for concluding that, in the present state of chemical knowledge, it would be impossible to produce a bona-fide “moonlight view”.  While equally convinced of the correctness of this conclusion, we did not, like M. Gaudin, attribute the assertion made to mendacity, but to some misapprehension; and we are pleased to find that such has really been the case--the whole confusion arising from an error of diction, as will at once be perceived on perusing a communication, to be found in another column, [this issue, p. 424-425] from Mr. J. T. Brown, Jun., the Hon. Secretary of the Birmingham Photographic Society.  It turns out that the pictures to which allusion was made are instantaneous stereographs of The Moon—a very different affair to instantaneous moonlight views, for by all the ordinary rules of language the latter designation would apply only to views illuminated by the reflected light from the moon’s surface.  Of course Mr. Breese is not responsible for the erroneous nomenclature.  We might take a negative of the flame of a candle, but we should not therefore be able to take a candle-light view.  We cannot doubt that Mr. Breese has made some very considerable advance in exaltation of chemical sensitiveness, as the production even of instantaneous lunar images evinces; and we sincerely regret that from so droll an error of language he has been subjected to so much suspicion.

 

1861:  BJP:  Dec. 1, vol. VIII, #155, p. 416:

            King’s College Photographic Lectureship.—Few of our readers will have forgotten that our former fellow-labourer and esteemed friend, Mr. Hardwich, was the apostle of photography, as a recognised branch of scientific instruction, at King’s College, London; and owing, doubtless, to his genial and amiable disposition, combined with his unquestionable skill as a chemist, the office which he filled as lecturer on photography enjoyed much popularity.  After Mr. Hardwich’s withdrawal the post was for a short time filled by Mr. Thomas Sutton, but was again recently vacant owing to his retirement.  We have much pleasure in announcing that, by the appointment of Mr. George Dawson, of Bath, there is every reason to expect not only a continuance but, if possible, an increase of energy in the promulgation of our art.  Mr. Dawson’s name will, of course, be familiar to our readers as a valuable member of the North London Photographic Association, and also in connexion with some important papers, published in this Journal, relative to the action of the fixing bath of hyposulphite of soda upon the positive proofs, and others, in which a knowledge of chemistry, combined with considerable manipulative and photographic skill, were requisites to any one undertaking the necessary investigations.  All these qualifications are possessed by Mr. Dawson, in addition to being accustomed to communicating instruction orally in those branches of the physical sciences to which he has devoted his attention.  We are, therefore, justified in congratulating the authorities of King’s College in having secured so valuable an addition to their staff.

 

1861:  BJP:  Dec. 1, vol. VIII, #155, p. 424:

            Stereographs.  Instantaneous Views of Paris.  London Stereoscopic Company, Cheapside, London.

            Instantaneous photographs of street scenery are,. It must be admitted, as superior to those taken by ordinary exposure as living animals in a menagerie are to stuffed specimens of the same kind—the bustle and animation of the scene in the former case being retained in all its exciting stimulus, while in the latter a sense of desolation always ore or less prevails.  These instantaneous views must be of immense advantage to artists in arresting and recording, for their future benefit, the actual attitudes of numerous figures n varied phases of movement—one of the most difficult feats at which an artist aims. Take, for instance, one of the most satisfactory of the series now before us, No. 38, the Boulevard de Strasbourg, in which we find a couple of men standing for a gossip together at the street corner, one with folded arms, the other with the right hand resting on the hip, and suggestive of a regular cosy chat.  Most of the passengers are sauntering along, though here and there one or two are seen in evident haste:--one gentleman has his right leg poised in mid air, while  advancing quickly to-wards the spectator; another is evidently running across the road, for, rapid as the exposure has been, a portion of the right leg is blurred, and, to some ecxtent, so also are the spokes of the wheel of a phaeton just whirling round the corner.  A man with a basket walks lazily across the road, and one with a truck, has stopped to rest, leaning against it with his legs crossed.  A huge block of stone, drawn by four horses, is evidently heavy—for notice how the animals strain at the collar.  These are only a few of the more prominent figures: there are numbers of others, each in its turn worth studying.  There is a little snowiness of effect due to the brilliancy of the sunshine and shortness of exposure; but the subject is unusually picturesque for one of modern street architecture.

            No. 44 Rue de Rivoli, is an excellent companion to that previously noticed.  Numerous examples of the advancing legs of the pedestrians are observable, including those who “slouch” along—those who turn out the toes, and consequently the kneew, somewhat grotesquely—and those who move as nature, not too much sophisticated, dictates.  While the preceding scene was taken from the sunny side, this is from the shady side of the way.  Both are excellent examples of their class.

            No. 40, Rue Montmartre, is of a more quiet character, but still including many figures.  In the foreground is an omnibus, with the conductor standing in the doorway, and three passengers on the double-seated roof; a hooded phaeton is retreating in company with the omnibus, and also a laden cart still further ahead.  At the kerbstone, on the left, stands a woman selling something contained in a basket suspended in front of her, much as one of her English sisterhood would arrange it; and midway along the right-hand side is a man in pretty brisk movement, with his hands up to his mouth, apparently bawling out something for the edification of the neighbourhood.  What a pity we cannot photograph the sounds also!  Though an excellent slide in other respects, it is rather under-exposed for the shadows, where unfortunately most of the figures are congregated—a predominance of very white caps, waisecoats, shirts, &c., testifying to this assertion.

            No. 42, Boulevard des Italiens is another capital illustration, the chief features of which are to be sought in the road traffic, consisting of carriages, omnibuses well laden, drays, water carts, and vehicles of every description, including their human and four-footed appendages.

            No. 34, Fontaine St. Michel.—In this slide the very unpicturesque incident of the greater part of the road being “up,” apparently for sewer construction, mars the subject as a picture, and the passengers are either in a greater hurry than those seen in the other specimens, or the exposure has been more prolonged, for there are many with only one leg, or say a leg and a-half, the remainder having been “lost by movement.”

            No. 41, Boulevard Montmartre,-- There are two specimens of this slide, both numbered alike, and indentical [sic; identical], except in the passengers included therein: both are somewhat spoiled in consequence of “blacking out the sky,” interfering sadly with the outline of the upper parts of the houses; but, as studies of people in motion they are capital.  In one, two labouring men are carrying a heavy package suspended between them, the tense muscular action from head to foot in both being admirably portrayed:  they form also a striking contrast to the quiet repose of an old woman seated under one of the trees knitting, and the leisurely promenade of several gentlemen taking it very easily—one young man alone, who is approaching towards the spectator, appearing in any hurry.  In the other specimen, if there be less unity and harmony of composition, there is more variety.  A consequential individual in military uniform, including very “peg-toppy” trowsers [sic], is strutting towards the observer, and beside him a civilian is walking—as a civilian should do; two ladies, with parasols, are partly seen beneath the sun-blind of the shop on the left, while two men in blouses are walking on the other edge of the troittoir in an opposite direction; a third is carrying a parcel on his shoulder, and a gentleman is running along the edge of the kerb-stone; a shopman is standing outside his door looking down the street, apparently directing the attention of a pedestrian, who is approaching him obliquely, to something in the distance.  But we must call a halt:  it will never do to go on describing a whole streetful of passengers, however much we feel interested in them.

            Subjects of this class will always be popular, and deservedly so; for, though they may not contain much of a high artistic value, they cannot fail to appeal to human sympathy and curiosity.

 

1861:  BJP:  Dec. 2, vol. VIII, #155, p. 424-425:

            Photographic Competition.  By John Thomas Brown, Jun.,  Honorary Secretary of the Birmingham Photographic Society.

            On reading the characteristic remarks of Mr. John Cramb upon the above subject, in your last number, [ Nov. 15, issue #154, p. 405-  ? ] I determined, as perhaps the more dignified course, to allow them to pass without comment; but, having an evident tendency to mislead your readers, and impugning, as they do, the character of the judges upon whom the responsibility of the award devolved, I am in duty bound to set the public right, and, by explaining a few facts, remove the imputation.

            In the case of the Birmingham Exhibition, the medals were awarded by Sir Francis W. Scott, a gentleman who occupies an important position in the world of art, if not as a practical photographer—though in the latter capacity he held the office of President of our Society for one or two sessions.  In connexion with his general knowledge of art, his social position would, of course, place him above even the suspicion of unfair dealing; but, coupled with his own, I am sure the name of his coadjutor, Dr. Anthony, would meet with the approval of every competitor.  As to the competency of the latter gentleman, it would be presumptuous on my part to offer any comment:  his scientific and artistic acquirements, as well as his long and intimate practical connexion with photography, are highly appreciated by those acquainted with the art, and wherever it is practiced; and, therefore, I believe that no appointment could have been made more satisfactory to the general body of photographers, or more beneficial to the interests of the art itself.

            No other complaint, or even the least reflection upon the competency of the arbitrators or the fairness of their decision, has yet reached me; and I therefore can only accept the remarks of Mr. Cramb as both ill-advised and not over charitable.

            I must request Mr. Cramb to explain the grounds for his statement—that “the Exhibition, both as regarded quantity and quality, was the most meager ever opened—a defect attributable to the past conduct of the Society.”.  It is almost superfluous to state that we opened up a new feature in photographic exhibitions, by offering medals for the best enlarged pictures from the solar camera; and the paucity of the competition in this class arose from the absolute want of sunlight to enable the operators to use the instrument.

            Further comment upon Mr. Cramb’s almost impracticable suggestions is uncalled for.  I think he has quite failed in his attempt to elucidate the subject, either of competitions or awards generally.  In the instance in point, the Birmingham Photographic Society laboured under every disadvantage that could possibly stand in its way; and, if the Exhibition has fallen short of producing that satisfaction and interest in the mind of Mr. Cramb and others that was intended by its promoters, I can only say that a part of the onus reverts to that gentleman himself, with others, the presence of whose productions would have greatly increased the quantity and, perhaps, the quality of the Exhibition.

            A few remarks on the instantaneous stereographs and moonlight views of Mr. Breese, remarked upon by Mr. Cramb, at the City of Glasgow Society’s meeting of the 7^th ult., are perhaps necessary.

            I think the best refutation of Mr. Cramb, would be practically to test the powers of instantaneous exposure at his command, and therefore suggest a comparatively easy subject for him to operate upon—say an object under the combined influence of rotary and progressive motion, as the wheel of a cab; or, to place the matter more under the control of his own studio, I should be content with an impression of the “gyroscope” in motion.  If he will honestly keep a register of the number of his failures, and forward it with the best stereographic image he can obtain, I shall have much please in submitting it, side by side, with any of the works Mr. Breese has already produced, and have no fear that those of the last-named gentleman will suffer by comparison.

            The views of the Queen’s visit to Birmingham, alluded to by Mr. Cramb, were produced some four years ago:  his more recent ones are not considered worthy of notice.  The inference, therefore, is, that Mr. Cramb either was actuated in his remarks by some personal bias or was not a sufficiently competent judge of their relative merits.  Had he seen the Power’s Court Waterfall, or others which must have escaped his attention, he could not but in fairness have admitted that they are unsurpassed even by the works of M. Ferrier.

As TO the moonlight views, I trust, with Mr. Breese’s satisfaction, shortly to prove, before a thoroughly qualified tribunal, that they are what they pretend to be, instantaneous views of the moon (that is, instantaneous is so far as such an exposure can be obtained by a simple removal from and replacing of the focusing-cloth over the lenses of the camera); until which time Mr. Cramb must rest, if he can, in the disagreeable position he has thought proper to assume.

            I may, in conclusion, state that Mr. Breese is an amateur, practicing photography simply for the love of the art, and without any hopes of making a gain by it.  He has already gone far ahead of any professional in the production of instantaneous stereographs; and I feel convinced that such unpleasant remarks as those of Mr. Cramb, though they may stimulate him to increased exertion, yet are calculated to leave anything but a favourable impression on the mind of a sensitive individual as to the class of men who occasionally act as the self-appointed judges of works they evidently cannot appreciate.

 

1861:  BJP:  Dec. 1, vol. VIII, #155, p. 425-426:

            Palestine in 1860; Or a Photographer’s Journal of a Visit to Jerusalem.  By John Cramb, No. XI.

            Intensity of Light in Syria—Preparations for Visiting the Dead Sea and the River Jordan—Bedouin Escort.

            The last part of my “notes” left me in Jerusalem.  I now propose to give a brief account of my visit to Jericho, the Jordan, and the Dead Sea.  Before doing so, however, I will answer a question that has been often put to me regarding the actinic power of the light in eastern countries.

            Photographic friends have generally expressed astonishment when I have assured them that I found the light in Palestine to be exactly as intense, photographically, as it looked.  Gentlemen writing from India and elsewhere, were the bright light would lead one to expect short exposure, have bewailed the actinic feebleness of the light in warm climates.  That always seemed to me extra-ordinary, though not impossible.  In all calculations of the comparative power of actinism at different times, in the same place, the want of a constant measure—a reliable actinometer—has been felt.  It is so much more felt in attempting to estimate the strength of light in places far removed and under very different physical conditions otherwise. Philosophical research or observation was not the object of my visit to Palestine.  I was not specially equipped for such, even if I had been disposed to undertake it, and capable of doing so successfully.  But so far as careful observation  made in carrying out the purely practical purpose of my visit caqn avail in settling this question, I must unhesitatingly declare the light to be of the same quality, photographically, as one meets with in this country.  I could easily see how a wet-collodion operator—working under a burning sun with the atmospheric temperature at perhaps 100˚, as I had during my journey for months, and, perhaps, with old decomposed English collodions, obliged to use an almost unbelievable amount of acid in his developer and his silver bath too—might have very much longer exposures than he could get good pictures with in the old country under more favourable conditions.  But no one capable of forming an opinion on any philosophic question would receive such a trial in evidence on the question of the comparative intensity of the light in the two countries.  My plates, albumenized in Glasgow and silvered in the same bath as I had used at home, had only to be washed in a similar water to that I had used in Scotland to be a pretty fair test of the strength of the light if the development were the same.  Any other dry process would be the same.  As I have elsewhere observed, the purpose of my visit to the Holy Land was purely to get pictures of places interesting from Scriptural associations, and there was nothing in it to induce me to try very short exposures, far less to attempt making instantaneous pictures.  From my experience there, however, I have no doubt it would be very easy to get instantaneous pictures.  Without at all making any effort to do so with short exposure, I seldom exposed longer than two minutes with the ½-inch stop on the 15-inch Ross lens, and more than once I made good pictures with fifteen seconds’ exposure.

            The conclusion I wish my readers to draw is, that I found no difficulty with the light in the East.  When it seemed bright it was so.  Every photographer knows how many other evils are covered by full exposure to good light.  The quality of the light in Palestine is the same as in England:  you have plenty of it, and scarcely ever know there is such a thing as fog or mist.  Generally the air is so free from moisture that objects miles off are as sharp and intense as those in the immediate foreground of the picture.  There is, generally, no atmosphere; for the artist’s atmosphere is not air, but water.  The mere photographic enthusiast, who desires clear definition alone throughout his entire picture, will have his utmost wish satisfied in such countries as Palestine.  Planting his camera on the top of any house about the centre of Jerusalem, and turning his lens toward Olivet, how delighted he will be to find the Church of the Ascension as clearly defined and as intense in shadow as the roof of the next house, though in reality some two miles distant!

            Every traveler and pilgrim who visits Jerusalem has a wish to see the Dead Sea and the River Jordan, and nearly all make it convenient to gratify the desire.  The usual plan for Frank travelers is to make a three days’ journey of it.  The first day they go to the Convent of Mar Saba, passing on the way through Bethlehem; and, if they have not previously been to the “City of David,” to “do it” then.  The second day they go from Mar Saba to the Dead Sea and the Jordan, and encamp for the night at or near Jericho.  On the third day they return to Jerusalem.  Some again reverse the order and go to Jericho the first day, and so on inversely.  Before I left Scotland I had been informed of the serious difficulties that lay in the way of my visiting the Plain of Jericho at the season of the year when I would be in Jerusalem, and my instructions permitted me freely to leave that undone, or to employ the Jew photographer at Jerusalem, if he would be more able to endure the heat or more willing to brave the dangers of the journey.  I had, however, made up my mind from the first, if it were possible for me to see the Dead Sea and the Jordan, that I would be willing to risk a little both of life and property in carrying out the desire.

            The Dead Sea is about 3,000 feet below the level of Jerusalem, and the whole Plain of Jericho is about the same level: it is, consequently, at all times very much hotter than at Jerusalem—how much I found impossible to ascertain without experience, but all agreed as to the greater intensity of the heat.  It was generally from 75˚ to 85˚ in the shade at Jerusalem just before I purposed making my trip to the Dead Sea.  Travelling during the night obviates the danger and uncomfortableness of the great heat, but that would not suit a photographer who wished to take views as he went along; and, besides, it would be impracticable, from the risk incurred.  And that brings me to the second difficulty in the way of any one going to the Dead Sea and the Jordan—the well-known dangerous character of the inhabitants of the country through which the traveler must pass, and the still more dangerous and thievish propensity of the people of the country to whose borders he approaches at the Jordan.  I learned that one way of getting over this was to obtain an escort from the Pasha at Jerusalem, which is easily obtained for a trifling sum.  Though that would look well enough on paper, or even while marching out of Jerusalem, I was assured by Mr. Finn, Her Britannic Majesty’s Counsul at Jerusalem, it would just be the way of insuring my being robbed, if not murdered, before getting back to the Holy City.  The only safe plan we learned was to place ourselves under the protection of a chief of the scoundrels themselves.  Earlier in the season, when there were many travelers in Jerusalem, I was informed that parties of ten or twelve persons generally went together, with a Sheikh of the Jordan Bedouin tribes—as their guide nominally, but really as their protector.

            Having made all preliminary investigations, and finally decided on going, I published my intention throughout the Holy City.  There were very few travelers, and fewer still disposed to risk their heads under the burning sun of the Plain of Jericho, or to consign their persons and property to the tender mercies of its tawny inhabitants.  Ultimately I found two reverend friends willing to share the dangers of the journey.  Long before I had made up my mind about when or how I was to go, I was waited upon by a Sheikh of the Jordan, as he called himself, who assured me he would guarantee the safety of my property, and, if anything was lost, restore it fourfold, though he assured me it was quite impossible that such could ever take place under his protection.  Those who opinion I was disposed to trust informed me that this Chief was the “right man in the right place.”  Let the reader realise the picture.  The day before we proposed starting, one of my clerical friends and myself were sitting in the British Consulate, and under the shadow of the royal standard we made a contract with the Bedouin Rob Roy, Sheikh Salih Abun Sere.  He promised security to person and property, an d we promised in return so many royal mint medallions, bearing the effigy of Her Britannic Majesty.  There was no document drawn up.  Sheikh Salih gave his word—and was he not a gentleman?  He saw the money put into the Consul’s hands, to be delivered to him on our safe return.

            I had determined on leaving out Mar Saba and going the nearest and most direct way to the Dead Sea.  After consulting with our guide, I decided on trying to do the whole in two days, taking the greater part of the first day.  For the more easy accomplishment of all we proposed, I resolved on making a very early start.  As usual, our muleteers were of a different mind.  It was nearly five o’clock before they arrived—fully an hour after the time we had hoped to be beyond the walls of Jerusalem.  We left by the St. Stephen’s Gate, rode down into the valley of the Kedron, passed the Garden of Gethsemane, and took the camel road to Bethany, where we had arranged to meet our Bedouin guide, that being as near Jerusalem as he cared to be except in full daylight.  There his country begins, and, consequently, there ends any little of laws and protection of property which the Turkish government, in its feebleness, is able to maintain.

            Winding round the south-western shoulder of Olivet, we had a fine view of Jerusalem.  Again and again we turned and admiringly gazed on it, but we were compelled to hurry on.  Soon we passed Bethany.  How quiet and lovely it looked in the soft light of an eastern morning!  I resolved to come over again, and, perhaps, many times; and very reluctantly we followed our darkeyed guide down the steep stony path that led to Jericho.  We had, by advice of Mr. Finn, left our revolvers at home.  We were quite unarmed, and had alone to depend on the protection of our Bedouin Chief.  I had some dim notions of a large number of attendants being a necessary concomitant of chieftainship:  our Chief had but one follower.  The Sheikh was well mounted, but totally unarmed:  the attendant was on foot, and carried a long gun and a sword.  This was all our warlike equipment, if I except the four-and-sixpenny pistols of my Maltese dragoman, which, however, I observed he had stuck in his belt in as defiant a manner as he could.  We soon left the Jericho road, as we proposed going to the Dead Sea first.  About an hour and a half below Bethany we turned off to the right, and took a more southerly direction.  There was no road there—not even a trace of one.  Our guide became light-hearted and cheerful as he seemed to feel he was out of all traces of what we call civilisation.  My reverend friends commented on his Ruffianship, as the American minister called the Sheikh.  I cannot say that I liked him then; but I dared not call him bad names.  I had elected to trust him.  I did do so implicitly, and if he fulfilled his contract he was no scoundrel.  So far as my connexion with him went, he was an honest man—a true gentleman.  It was astonishing how soon this untutored son of the desert fathomed our thoughts, though he knew no word of our language.  I trusted him, and never regretted it:  my friends were obliged to take his protection, but called him bad names in a language he knew not  He read our thoughts in our faces as well as if we had spoken in words he understood.

            The first object I proposed taking a picture of was the place which Moslem tradition has fixed on as the tomb of Moses.  I do not believe it is so; but, as I was to pass it, I thought I might as well have a picture of the building—nearly the only remains of buildings in that part of the country.  Neby Musa is about an hour and a half from the Dead Sea, up in the wilderness of Judea.  That was our first resting-place, and we arrived about one o’clock.  While the horses of the remainder of the party were resting I was at work with my camera.  Soon after leaving this we were in sight of the Dead Sea.  Far below us there it lay, and every eye was strained to take in a vivid picture of it.  I was already, as we rode along, speculating on where I was to take my view from.  Down the steep precipitous path we ride on, keeping our eyes, whenever we could, on the glistening distant lake.  Hitherto we had felt no intolerable heat:  at Neby Musa the thermometer stood at 92˚ in the shade.  As we descended it got hotter. [End of this letter]

 

1861:  BJP:  Dec. 1, vol. VIII, #155, p. 427:

            Birmingham Photographic Exhibition.  Award of Medals.

Silver--Best Portrait….…….………A. Claudet , London

Bronze—Second Best Group………H. P. Robinson, Leamington

Silver—Best Landscape…………….F. Bedford, London

Bronze—Best Landscape…………...Vernon Heath, London.

                                                            James Mudd, Manchester

            In this class the judges recommended two Bronze Medals to be given—placing Mr. Heath and Mr. Mudd.

            Sir Francis E. Scott gives an extra prize to Mr. O.G. Rejlander, of Wolverhampton, for his works generally; and the judges recommended the Society to give an extra Bronze Medal to Mr. Breese, for his instantaneous stereographs.

 

1861:  BJP:  Dec. 16, vol. VIII, #156, p. 437-438:

            On Viewing Binocular Photographs Without a Stereoscope, by George H. Slight.  (Read at a Meeting of the Edinburgh Photographic Society, December 4^th, 1861.)

            As the convenient inspection of stereographs is intimately connected with photography, and as by far the most convenient way of looking at them is with the eyes alone, a few remarks on the subject may be of use to those who do not, and therefore thin k they cannot, see such pictures without a stereoscope.

            The accomplishment—as it may be called—is a mere matter of training the eyes, without apparently doing any harm to them, and is very easily learned.  When we use a stereoscope, both eyes are directed as if we looked at one object at a moderate distance from the; but by means of the prisms of the instrument the rays of light are bent, so that we are enabled in reality to look at two different pictures, which from being really or intentionally the exact appearance of an object as seen by both eyes combine and give us the idea of looking at the object itself.  If without the stereoscope we look at a stereograph, adjusting the right eye to see the right-hand picture, and the left eye to the left-hand picture—or if, in a misplaced pair of pictures, as an uncut pair taken with a twin camera, we look at the right-hand picture with the left eye, and at the left-hand picture with the right eye—we have, in either case, correct stereoscopic vision; but, as with most people a little training and practice are necessary, I shall describe what appears to be as simple a method as any of accomplishing it.  Take a pair of well-marked stereoscopic pictures, or a pair of diagrams, not joined together:  place them considerably closer than if required for the stereoscope—say about two inches between centres—and hold them at arms length, so that the eyes can be directed immediately over them to any distant object; then instead of two pictures we have indistinctly at first the appearance of three: each eye sees two pictures, but the inner ones of each pair combine or overlap and give the appearance of three in all.  On allowing the eyes to leave the distant object and rest on the pictures, the middle one all at once becomes distinct, from the eyes focusing themselves to it, and a stereoscopic image is the result, the eyes being then directed to the different halves of the picture.  If the half pictures are misplaced, and held out as before, but the eyes directed to a real or imaginary object about half way between them and the picture, we again have the combination and correct stereoscopic vision.  After a little practice no difficulty is experienced in looking at ordinary stereoscopic slides by simply allowing the axes of the eyes to diverge until the pictures combine.  When any difficulty is  experienced—as when the pictures are mounted too widely apart—the slide may be held obliquely until the parts combine, and then gradually turned to the square, the eyes readily adapting themselves to the varying circumstances.

            A very curious phenomenon is observed when the eyes are thus used.  If in holding up a pair of pictures to be seen by what may be called parallel vision, we gradually separate them, and cause the axes of the eyes to diverge more and more, the stereoscopic image appears to increase in size, probably from the instinctive connexion which exists between parallel and remote vision giving an idea that we are directing the eyes to a more distinct object; but in cross vision, with misplaced pictures, the gradual separation of the picture has the effect of making the eyes appear to look at a nearer and nearer object, and an apparent dimunition in size is the result.  In either case the moving of the pictures several times nearer to and farther from each other makes the illusion perfect.  The apparent reduction of size when looking at misplaced pictures by cross vision as compared with parallel vision is, indeed, evident at first sight; so that, although this is a very convenient way of judging of the stereoscopic effect of a negative taken by a twin camera, it gives an erroneous idea of its magnitude.

 

1861:  BJP:  Dec. 16, vol. VIII, #156, p. 439:

            Stereographs.  Views in Derbyshire, Yorkshire, &c.  Photographed by Thomas Ogle, Preston.

            In this series Mr. Ogle, one of our most noted stereographic artists, has even surpassed his former beautiful productions, and has made his debut in delineating a class of subjects which we do not remember to have hitherto seen as the fruit of his labour—we mean those requiring instantaneous exposure.  We will therefore begin with them.

            The first that demands our notice is a subject that reminds us very strongly of the celebrated picture by Le Gray, so popular a few years ago:  it consists of a small sloop afloat in the English Channel, off Folkestone, the waters of the sea rolling in towards the shore in gentle wavelets bathed in a flood of sunshine, against which the sky, mottled with fleecy clouds, appears dark by contrast.  Though very beautiful when viewed in the stereoscope it appears somber without, and like Le Gray’s picture reminds one more of moonlight than sunshine, albeit highly artistic.  It bears the No. 226.

            In No. 265—Scarborough, scene No. 2 on the Beach—the sky with natural clouds is perfectly rendered as being in unmistakeably broad daylight, but the exposure has evidently been a trifle longer than in the last mentioned, as shown by the slightly blurred outline of a rowing-boat in motion.  As a picture of coast scenery, with numerous boats of various kinds, figured, &c., it is capital.

            Nos. 262 and 270 are more Scarborough Beach scenes—the former looking upon the castle from the bay, and the latter from the north shore.  This last is a very successful slide, containing views of the bathing-machines, groups of donkies [sic], with ladies and children in various attitudes familiar to frequenters of the seaside.

            But perhaps the best of the instantaneous scenes, whether as regards manipulation or composition—for both are really first-rate—is one entitled The Railway-Boat, The Irish Mail-Boat, and Shipping on the Mersey, No. 224.  The grouping of the shipping is very picturesque—the water clear—the sky, with a few clouds, brilliant—and the steam pouring out of the funnels of the Irish mail-boat transparent and real in the extreme, veiling—and only slightly veiling—the ships in the distance seen through it.

            Pass we now to landscape scenes of a character with which Mr. Ogle’s name is more familiarly identified; and here we have one which we could pick out as his work from amongst a thousand.

            No. 248, On the Mill Beck Stock, Bowness, is one of those glorious masses of foliage enclosing a stream of limpid water skipping from rock to rock that every artist and lover of nature revels in with delight.  As a composition this slide is admirable.  The figure of a youth stepping across the stream forms the centre and focus of the whole.  On either side the stream, shrubs of the alder, ash, beech, holly, and other kinds, together with undergrowths of ferns, &c., clothe the banks.  Beyond the lad, further up the gorge, a background of the stems of some tall trees half shuts in the distance, which, however, is partly visible, consisting of more and yet more shrubbery, with here and there just a speck of sky.  The immediate foreground consists of a mass of broken, rugged, lichen-covered rocks, splitting the little stream into numerous channels, and here and there a tuft of grass springs up with its long, graceful, feathery flower, more gorgeous in beauty than any court lady’s plume.  In this beautiful specimen everything is sharp, clear, and distinct, yet all harmonious and in perfect keeping, and without loss of either “breadth” or atmosphere.  There is scarcely a particle of pure white in the whole picture, yet for all that it does not lack brilliancy:  it is about as nearly perfect as anything in monochrome can be.

            Of Dovedale—charming, although it must be confessed somewhat sloppy, Dovedale—that Derbyshire lamb-like lion—we have several pleasing illustrations.  In No. 215 the tortuous windings of the River Dove between the high, rugged, but verdure-clad rocks, as seen from  between the high, rugged, but verdure-clad rocks, as seen from Reynard’s Cave, are well displayed, and the whole scene is highly picturesque.  Those who would see the reality have to encounter a pretty stiff climbing job, with somewhat treachereous foot-hold.  In No. 312 where the river is broader and the banks less precipitous, there is a beautiful play of light and shade.  No. 311 contains the singular rocks in the Dale called The Twelve Apostles, and No. 316 the equally singular and still more pleasing ones known as Tissington Spires.  This subject is very artistically treated:  vthe contrast between light and shade is of the strongest; yet, deep as are the shadows, they are beautifully transparent and full of detail.  In the middle distance a gentleman is seated, looking up at the so-called “spires,” and in shadowed foreground stands an old woman, whom we recognise as having seen close upon the same spot, in charge of a donkey or two, for the benefit of those ladies who are too dainty to traverse the Dale on foot, soaked to the skin, as they must in that case of necessity be, so far as the lower extremities are concerned.  These slides will, if viewed by those who have not been on the spot, make them take the first opportunity of visiting it; and to those who have already been there they will recall most pleasant memories.

            There are two very charming scenes at Matlock Bath—one (No. 294) being a general view of Matlock Dale from the Heights of Abraham.  There are two slight drawbacks to this otherwise pleasing slide: --first, the atmosphere was at the time of its exposure a little too much laden with moisture; and second, from the great elevation at which the operator stood  the light from the sky is reflected too strongly from the tranquil surface of the river Derwent, thereby introducing a somewhat “patchy” appearance.  Nearly this same view taken from the garden of the Pavilion Hotel would be more effective.  No. 397, the Lovers’ Walks, from the Ferry, is, however, a gem.  A splendid oak tree, by the river’s edge, on the left—the huge block of stone and ivy-clad hovel in the centre—the tall Tors in the background—with the mass of alders and other trees nestling at their bases, and here and there a willow drooping into the river—compose very harmoniously.

            Those who have ever visited Buxton cannot fail to recognise many nice views in the public gardens in that museum of gossip, idlers, and invalids.  Nos. 156 and 170, The Serpentine Walks, are perhaps the best.

            With one more we must close the present notice.  No. 292, View in Chee-Dale, looking north, is a capital illustration of the way in which the hard rock has been worn through b y the water, the bare sides of the rock standing almost of quite perpendicularly out on each side of the Dale.  A party of ladies are visible on the soft turf, and a mass of coltsfoot on a mud island in the centre is a prominent object.  The whole of the slides are printed in Mr. Ogle’s well-known brilliant manner.

 

1861:  BJP:  Dec. 16, vol. VIII, #156, p. 443-444:

            Photographic Competition and Moonlight Pictures, By John Cramb

[reply to letter from John Thomas Brown, Junior, Dec. 1, #155, p. 424-425, which was a response to an article by John Cramb, Nov. 15, issue #154, p. 405 - ??]

            I was a little disappointed by the article on this subject in the last number of The British Journal of Photography, by Mr. J. T. Brown, Jun.  I was really very sorry to see that he had on many points so completely misunderstood me.

            In my article On Photographic Competition I have said very little about the Birmingham Exhibition, and not one word about the judges.  The aim of my article was to show that the offering of medals at Exhibitions had not been beneficial to them.   After instancing the Edinburgh Exhibition as having suffered rather than benefited by the offering of medals I said—“Again, only lately the Birmingham Society announced the intention of holding an Exhibition, and awarding medals for certain classes of pictures.  Instead of a large collection, fully representing the position of the art, the Committee could not get as much as would make a decent opening till long after the advertised time; and, ever after two months’ persistent application to the photographic world for contributions, it was a complete failure, both as regards quantity and quality—perhaps the most meager Exhibition ever opened.”* (*See The British Journal of Photography, page 405.) 

            I have not the most distant idea of blaming any one, but meant—and I think clearly said—that the plan of offering medals had, I thought, been injurious.  What can Mr. Brown mean by saying my article impugned the character of the judges appointed?  I never even mentioned the subject of the judges at Birmingham.  I could not have done so; as, if I am not much mistaken, there never was any intimation of either who the judges were or any notice of their award till the appearance of the notice in the last number of this Journal.  I have no doubt Sir F. E. Scott is all Mr. Brown says he is, and I have formed a very high opinion indeed of Dr. Anthony.  These gentlemen were, no doubt, “the right men in the right place” when acting as umpires in a photographic competition.  Who ever hinted anything else?  That is the part of Mr. Brown’s charge which I am most anxious to repel.  Things that are in their nature matters of opinion we need not expect all the world to agree upon; but, as I never alluded to the judges at the Birmingham Exhibition, I must insist that it is very wrong to say that I impugned their character, or directly or by implication cast any reflection on the award made by them.

            As to giving any explanation of what I meant by calling the Birmingham Exhibition “perhaps the most meager exhibition ever opened,” I have merely to say that I thought it so; and why I hold such an opinion will, I think, appear by reference to the catalogue.  I never for a moment meant to blame the Birmingham Photographic Society for this result.  I intended to charge the evil as against the plan hitherto adopted of offering medals.  If I were wrong in doing so, Mr. Brown should rather, I think, have pointed out the true cause.  He does not, after all, deny the facts stated in my brief notice as given above.  It would have been more to the purpose if he could have done that.  The readers of the Journal did not require to be told that if I had sent pictures to the Exhibition that the quantity would have thereby been increased, and perhaps the quality.  That sneer I am content simply to repeat.

            Let me now, in a few words, dispose of the rather violent attack on me in regard to my remarks on Mr. Breese’s pictures at that Exhibition.

            Before doing so let me say that Mr. Breese is not to be in the smallest degree held liable for the present discussion regarding his pictures.  It may be that he is indifferent to all that has been written respecting them.  He may esteem it as merely so much gossip of the photographic busy-bodies; and it may be that this discussion causes him much pain and annoyance.  Mr. Breese himself has not written, or in any public place said, a word about his pictures.  As the lawyers would say, he is not “in court” at all.  It is necessary to keep this in mind, because I think it bears on the questions at issue.

            Without further comment let me see what I am reported to have said.  Referring to Mr. Breese’s pictures, Mr. J. Cramb said:--“If that gentleman had a process by which he could take pictures by moonlight, he submitted the question—Why were there so many figures which had moved in his so-called instantaneous views of the Queen’s visit to Birmingham, though it was evident they were done with the full aperture of a double lens, there being only a small part in the centre in passable focus?”* (*The British Journal of Photography, page 412)

            The reader should easily understand my meaning.  I supposed that all Mr. Breese’s pictures were done by one new, very rapid process.  I was justified in supposing so.  All the pictures had been mentioned in one batch through the same medium.  In fact, the views of the Queen’s visit were first spoken of by the editor of a contemporary as wonders of instantaneous photography.  My question was a most pertinent one.  How has it been met?  By denying my premises that there were figures which had moved, and that a double lens was used?  No!  But by explaining that these views of the Queen’s visit were not—what the critic called them—instantaneous, and done by Mr. Breese’s quick process, but that they were produced four years ago.  The meaning of this statement I understand to be that the process Mr. Breese now uses is different from the one employed in producing these views of the Queen’s visit.  The statement has no meaning at all if that be not the signification.  If that be Mr. Brown’s meaning my question is answered, and the apparent difficulty raised by it is removed.  I did not say I absolutely doubted that Mr. Breese had taken the moonlight views or could take them; but I expressed, by a question, my astonishment that if he could take moonlight views why could he not take views in full sunlight instantaneously?

            It is to be regretted that Mr. Breese has not, in his own person, come forward with a plain, intelligible statement of what he can do by his improved process.  I know that many most successful and enthusiastic amateur photographers are averse to publication; and I can scarcely say it mends the matter that sometimes their views are drawn out of them in private circles, and then without their consent published more or less correctly by some hearer—an editor or his friend it may be.

            Mr. Brown complains that I pass over Mr. Breese’s other excellent pictures, and instances the Power’s Court Waterfall.  I did not intend to give an expression of my estimate of the value of Mr. Breese’s productions.  I may say that I think them very creditable, but much injured by the injudicious and indiscriminating flattery of the editor to whom I have already made allusion, and by whom I have been during the last twelve months systematically vilified, for reasons with which it is needless to trouble your readers; but he could not be engaged in a more hopeless task than that he seems to have appointed to himself.  He cannot hurt my feelings, not possessing the weapon necessary to reach my self-respect.

            Let me, in conclusion, ask why Mr. Brown makes so much of the few words uttered by me?  The editors of La Lumière and The British Journal of Photography have more directly impugned the accuracy of the statements about Mr. Breese having executed moonlight views.  Why allow them to escape and arraign me […e] the London Photographic Society, as he did at the late meeting of that body?  I am not vain enough to think he values the effect of my remarks as more injurious than the articles of the two gentlemen names.  No!  I can but think that he (to use a Scotch proverb) wishes to “loup the dike whare it is laighest.”  I pray him not to try again, lest he may find that it is quite high enough for him to get broken bones in the descent.

 

1861:  BJP: Dec. 16, vol. VIII, #156, p. 444-445:

            Palestine in 1860; Or, a Photographer’s Journal of a Visit to Jerusalem.  By John Cramb, No. XII (Concluded.)

            The Dead Sea—The Jordan—Jericho—Return to Jerusalem.

            The last number of my notes left me descending into the valley in which the Dead Sea lies.  Very extraordinary ideas we all had of that sea.  I had heard the most frightful descriptions of the deadly miasma floating over it.  I could not say that I had any clear idea in what the horrors and dangers of an approach to it would consist; but I had some vague and dreamy notion that it was a very “naughty place.”  What did I think of it as the reality lay before me?  “It looks rather pleasant,” we said to each other.  “Not unlike a Scotch loch,” remarked one of my clerical companions.  There is a great absence of vegetation, though.  The background of hills lack variety of outline and elevation, and there is no individuality in the hills.  It was pretty hot, but not at all intolerable, and we felt no very unpleasant sensations.  As we approached the lake, nature seemed everywhere making a desperate effort to produce vegetation.  Everything was parched and stunted in appearance.  Sheikh Salih busied himself collecting berries, which he politely presented to me, at the same time partaking of some himself, as if to assure me that they were wholesome.

            When within about half a mile of the Dead Sea, we dismounted—I to take my view, and the rest of the party to lunch.  The whole of the southern and western border of the lake was enveloped in a dense mist.  I determined, alone, to try a view across the northern end of the lake, with the Moab mountains for a background, and showing the mouth of the Jordan.

            After I had exposed my plates, and, as I hoped, had secured the image of this mysterious sea, I determined on carrying to my distant home a more material witness of my visit, in the shape of a bottle of the water of the lake.  Having filled it and picked up a few of the more marked stones on the beach, we were soon in the saddle again, with our horses; heads directed towards the ford of the Jordan—the traditional site of the baptism of our Saviour, and of many other important Scriptural events.  I shall attempt no description of the Dead Sea, but so far as it came under my own observation.  There is room for much investigation and research here.  The American expedition, under Lieut. Lynch, has supplied us with nearly all that we know of a truly reliable character.  To that narrative I would refer my readers.

            As we rode across the plain, I particularly observed the very numerous heaps of sand-dust is the more correct word.  These were of considerable height—formed, in some measure, like the avalanche.  Some little obstruction in the plain stopped a portion of the flying dust, and it accumulated in various spots, till the huge masses we saw were the result.  That is what has become of the once fruitful soil of the plain of Jericho.  Thus the smiling garden has become a barren waste!

            Some failure in my saddle stopped me for a short time.  The Sheikh kindly waited to see all right, and we had a good-natured race to get up with our companions. As we approached the Jordan, we seemed to be riding up to the base of perpendicular hills.  A bright green belt of very close vegetation was pointed out as forming the banks of the river.  What increased force we saw in the language of the Psalmist, where he refers to the flourishing character of the tree planted by the river!  And in the sudden transition from the parched, barren plain, to the luxuriant river’s bank, we have the answer to the question as to whether there is any impediment to the growth of a plentiful harvest on this now desert waste.  Plant and irrigate it, and the plain of Jericho will again become as “the garden of the Lord.”

            Arrived at the ford of the Jordan, we again dismounted.  I was promised to be allowed to remain an hour.  The Sheikh seemed very uneasy, and, long before the allotted time, was urging us to re-load and make ready for departing.  I soon had my camera in position, and took several views—one of which included the muleteers, the Sheikh and his man, and the rest of the party.  That turned out my last stereo., and it was the one which was published.

            The River Jordan at this point is of considerable extent—perhaps about 400 feet in breadth, and it is pretty deep.  The water is so sweet and agreeable to drink I had two bottles of it filled; and I was able to bring both of them, and also the bottle of water from the Dead Sea, uninjured to this country.

            After leaving the Jordan we turned in a nearly due westerly direction towards Jericho.  Our Sheikh had a fright and so might we had we understood the danger.  Soon after we got from under the cover of the trees along the Jordan we saw something resembling human beings, over some distant sand-hills.  Well, thought I, and what of it?  Our Sheikh, however, felt uneasy.  Giving some hurried instructions to our chief muleteer to keep the baggage animals together, off our protector rode in one direction, his attendant having before gone in another.  There were but a few minutes of suspense; for, as we rode silently forward in single file, we saw that Sheikh Salih had come up with the imaginary robbers, and that he and they seemed to be on friendly terms.  I was informed that it was a party of Bedouins carrying some prisoners to their camp.  We rode through them, and found our Chief had dismounted, had spread out his mat, and was going through his devotions.  As I approached he saluted me—as I learned—praising God for our deliverance.  My American companion sneered at him as a canting hypocrite, saying that the whole was a ruse to make us think highly of his protection.  I could not thus think of him.  There he stood, his honest, manly face expressive of gratitude to his God and Father.  I learned from my interpreter the Arabic words for “God be praised,” and, as well as I could, repeated them.  The Sheikh joined me in uttering them, and we again repeated them together.  He was pleased with my confidence, and I shall never, I hope, be ashamed of having joined in the expression of heart-gladness with this faithful, free son of the desert.

            We arrived at Jericho just  before sunset.  Our tent was soon pitched.  It was too late for us to see anything of Jericho.  As we approached it we had looked for the palm—the solitary palm—which we had learned remained the last of what had gained for it the title of the “City of Palm Trees.”  There was not a vestige of one to be seen.

            A message was brought to us that the chief man of the village desired the honour of our company.  I rather unwillingly complied; for I felt more disposed for sleep than to attend a levee.  We went, however, ands found him in the midst of what I suppose must be called his courtiers.  A very dirty and ragged congregation they certainly were!  His Highness of Jericho has no fine palace:  he receives his guests under the canopy of heaven, and, for economy’s sake, just outside the village coffee-shop.  He ordered coffee and pipes for us, which he never paid for, we believe:  the café keeper paid himself by the return order we gave.  There was no attempt at providing seats for us.  Down we all squatted on mother earth around the blazing fire, which illumined the faces of the motley group.  To remove the very appearance of anything like doubting them, we had left all our servants at the tent.  A very extraordinary picture this group would have made.  I felt very sorry that I could not speak Arabic, and not much less so that I could not smoke.  I did not care either for their coffee.  I did, however, drink it:  to have refused would have been dangerous.  One of our party spoke Arabic well, and could smoke and drink coffee and eat all sorts of things nearly as well as the Arabs themselves.  He produced cigars for the Governor and some of his attendants.  They tried to smoke them as he did.  Our friend smoked their pipes; and thus we fraternized with perhaps as lawless a set as one would care to meet.  We bade them good night, and made for our tent.  I soon undressed and got to sleep.  The Arabs outside my tent were amazed as they saw me undressing.  Very foolish and unnecessary they thought this operation.

            In the morning I was early astir.  I took views of the village and plain—not an over comfortable place to work in, it proved. The Sheikh had gone in the evening, and left his brother and some attendants to protect us.  It never occured to me, when I went out to take my view, that I would require them with me.  Off I went with my camera.  They had been watching my movements; for, ere I had chosen my position for a view, I found my protectors were around me, and that a very large congregation of the other thing from which I required to be protected had arrived also.  What a jabbering, ragged, thievish-looking crew they were!  I soon perceived that the Sheikh’s man was very careful to lift every article I laid down and; I was manifestly afraid of those who surrounded us, counting time as I best could, not daring to show an article, so interesting as a watch.  Those were the most knavish-looking fellows I had ever seen; yet even they were afraid of their lawful rulers—their chiefs.  Had I been working a wet process it would have been a hundred-fold more difficult, and might not have been easily accomplished at all.

            I returned to our camping ground and found all the baggage packed; but the tent had been, by my orders, left standing, as I wished to have a stereo. of it and its :surroundings.:  I hurriedly set the cameras and stepped into the door of my tent, after having uncovered the lens.  My dragoman shut it up.

            About nine o’clock we left Jericho for Jerusalem—a bad time for traveling; but I had no choice except to wait another day.  I was, however, anxious to get to AJerusalem to develop my views. 

            In all the journey from Bethany till we got to Jericho we had never seen a human habitation.  When we left Jericho we would not see a house till again near Bethany; for there is not now even an inn to which a good Samaritan could take a poor wounded traveler who had fallen among thieves.  About half-way there are the remains of some habitations, said to be the ruins of “the inn.”  I suffered a good deal for want of water on my return journey to the Holy City.  I was generally very easy on this point—quite able, in fact, to endure the deprivation of it as long as any of our Arabs.  My companions hurried in advance of the baggage, which took me away from my dragoman and the water supply.  Bitterly did I regret it, as I was afterwards rather ill, resulting I believe, from having drank some bad water, which, but for my excessive thirst, I would have rejected.  My clerical companions had wine and brandy, both of which were useless to me.

            I arrived in Jerusalem about three o’clock, but too tired to do any photographic work.  It was a day before I could get my pictures developed.  I found I ahd been overdoing the damping of my plates.  I had several failures in consequence, which much discouraged me.  I was soon almost dangerously ill, and had to cease all work.  I was, however, glad to find, on summing up, that I ha a view of every place I tried secured.  Where failure had taken place was where I ha exposed several plates.  Were I to go over the same ground again I could, in every respect, be much more successful.  I cannot but feel pleased that I was, so far, successful.  The Jew photographer had been several times at the Dead Sea and the Jordan with wet collodion, and yet had no view of either the one or the other.  Another, and very successful, British photographer, whose views in the East are deservedly admired, had not secured a view of the Jordan; so I took encouragement, and my health became better.  I needed it all.  My dragoman—poor fellow!—got worse as I got better.  I am afraid he drank too much wine.  Temperance is a health-preserver anywhere, but perculiarly so in warm climates.

            I now for the present hurriedly bid my readers good-bye.  I had hoped to have carried my narrative throughout the rest of my journey in Palestine, and return to this country.  I have, however, fulfilled the title of this series of papers, and given “A Photographer’s Journal of a Visit to Jerusalem”.

 

 

1861:  BJP:  Dec. 16, vol. VIII, #156, p. 451:

            Foreign Correspondence:  [Charles A. Seely, New York]

            New York, November 15^th, 1861.

            Dr. Hays, who sailed for Arctic exploration from Boston, July 10^th, 1860, has just returned from his tolerably successful expedition.  The Doctor had the enterprise to study photography before he left, and went equipped with the paraphernalia of the art.  He brought home upwards of two hundred stereo. negatives, illustrating the most important objects about which there is a curiosity among the people.  The prints from the negatives, no doubt, will shortly reach all parts of the globe.  This photographic verification is a very appropriate climax and wind-up of voyages towards the north pole:  there is no need of anything further.

            [Letter continues with unrelated technical subjects]