1863 BRITISH JOURNAL OF
PHOTOGRAPHY
vol. X
Start Feb. 2, p. 55
Ver. Jan. 21, 2007
TRANSCRIPTION CONVENTIONS:
--Italics have been retained from publications, which uses them for both titles as well as emphasis. To more easily locate image titles, I have continued this italicization when titles have been rendered in all capitols or put in quotes, however italics have NOT been used when the general subject of an image is mentioned.
--Photographer’s (or potential photographer’s) names have been bolded – see also below under “Names”
--Brackets [ ] are used to indicate supplied comments by the transcriber; parenthesis
( ) are used in the original sources. If the original source has used brackets, they have been transcribed as parenthesis to avoid confusion.
--Spelling and typos: Nineteenth-century spellings occasionally differs from currently accepted norms. In addition, British spellings also differ from American useage. Common examples are: “colour” vs. “color”; “centre” vs. “center” and the use of “s” for “z” as in “recognise” vs. “recognize. While great care has been exercised in transcribing the 19th-century journals exactly as printed, “spell check” automatically corrects many of these differences. An attempt has been made to recorrect these automatic changes, but no doubt some have slipped through. As for typographical errors, these have been checked although no doubt some have also managed to slip through. For matters of consequence, I will be happy to recheck the original sources if need be for specific references.
-- Technical articles: For the most part, articles discussing technical aspects of photography, products, etc. were not transcribed unless they are part of a larger article covering photographs. When technical descriptions are too lengthy to include, that has been noted. Exceptions have been made as the transcriber saw fit.
--Meetings of Societies: Names of officers, members attending or referenced, dates and locations of meetings have been given. The first and/or earliest meetings recorded have been transcribed in full. Beyond those early years, only if the reports are very short or discuss photographs, have the articles been copied in full; if administrative or technical in nature. Although not always possible due to time constraints on borrowed materials, when possible, I have included at least the dates of society meetings and any photographer’s names listed.
-- Related, contemporary journals: e.g., The Art-Journal, cover both photographer as well as painting, drawing, sculpture, etc.. As they frequently refer to the production of both the photographer and the painter as “pictures” it is not always possible to tell when photography is indicated. If there is doubt, these articles have been included and the names bolded, but the individuals may, in fact, not be photographers.
NAMES:
--All photographer’s names have been bolded for easy location. EXCEPTIONS: While it is likely that people working with photographic equipment and techniques are also photographers some discretion has been used and not all such names have been bolded. Names of honorary members of a photographic society are assumed to be photographers and thus bolded, when in fact, that may not be the case. Names mentioned in connection with meetings of non-photographic societies have not been bolded unless there is a known or suspected photographic association. A computer word search, however, will still enable the researcher to locate any references to specific names.
--Names: Given abbreviations for titles such as “M” for “Monsieur”, etc., it is not always possible to tell if an individual’s first name or title is being abbreviated. Thus, especially with non-English photographers, too much credence should not be put into an initial that could also serve as an abbreviated title.
--It is not always possible in lists of photographers to know when two separate photographers are partners or not, e.g., in a list, “Smith and Jones” sometimes alludes to two separate photographers and sometimes to one photographic company. Both names will be highlighted and indexed but a partnership may be wrongly assumed. Any information to the contrary would be appreciated.
NUMBERS:
--Numbers referenced in the various journals can refer to either the photographer’s image number, or an entry number in an exhibition catalog. When the number is obviously is obviously that of the photographer, it is included in the index under the photographer’s name, whereas exhibition numbers are not.
1863: BJP Jan. 1, vol. X, #181, p.5-6:
Instantaneous Photography* By Valentine Blanchard
[*Read at a meeting of the South London Photographic Society, Dec. 11, 1862]
I purpose this evening, with your kind permission, to describe the method I adopt in the production of the pictures before you, and to point out some of the many difficulties which perpetually cross the path of the operator who adopts the wet process for out-door operations, but the more especially when aiming for instantaneous effect. But before proceeding to the details I will, if you will permit me, glance, by way of preface, at the labours of the veteran photographers who may fairly be considered the pioneers who have cleared the way, and who have by their bold achievements made safe the path to the timid who follow slowly in their footsteps.
The productions of Le Gray are familiar to most of you. All must remember the burst of admiration which greeted the appearance of his first cloud-effects; and the opinion at that time was freely expressed that a new era had commenced for photography. Tried by the present standard these productions may not be considered remarkable; but to those who may be disposed to be hypercritical, let it be said that he may justly be considered the first to indicate the direction in which to work; and when we take into account the size of the pictures, the consequent difficulty in procuring a lens of long focus capable of working quickly, and also of obtaining a film of sufficient sensitiveness, we must say that all honour is due to him for his labours.
Immediately following in his steps, but working in a somewhat different direction, came Wilson whose pictures, tried by no matter what standard, have never yet been surpassed. I shall not readily forget my impressions on seeing for the first time his wonderful sunset and sunrise effects. The boldness of the idea which prompted him to turn the daring gaze of his lens at the sun—and coming suddenly too upon our old notions about the necessity of keeping the sun out of the lens—almost took my breath away. On glancing at the immense number of pictures he has produced, the wide range of effects introduced into them, and the life and vitality apparent in all of them, it must be admitted by those most chary of praise that photographers are all much indebted to him for having produced the greatest number of really beautiful pictures that have yet been secured by photography.
The statement that Breese had really produced moonlight effect was for a long time considered quite mythical, and many will remember the amusing incredulity of some of the French journals; but after an inspection of his charming studies in the International Exhibition I think the most skeptical must have been convinced of the reality of the fact.
I was much amused the other day on taking up a journal containing an extract from a Birmingham paper, giving a glowing description of his instantaneous pictures of the opening of Aston Park. As that is now some five years ago, I think to Breese is due the honour of having first produced instantaneous street pictures. I am not, however, sure on this point.
In our list of worthies we must not omit that of England, whose American pictures, especially those of Niagara, were considered so wonderful, but who has since obtained undoubtedly the best series of street views of the finest city in the world yet produced.
The question is repeatedly asked by the uninitiated who see instantaneous pictures for the first time to what wonderful discovery are these results doe; and they stare with incredulity when informed that most of the wonderful effects of Wilson are produced by nothing more startling in the shape of a shutter than a Scotch cap dexterously placed over the lens.
Now, in describing my plan of working, I need scarcely say that I have nothing new to announce; but I trust that something profitable will come out of the discussion to repay you for the tedium of listening to much that is commonplace. All the pictures before you are produced by iron development. I find in practice that, by using a bromo-iodised collodion, I can employ a bath much stronger than is ordinarily used, and can also use the iron solution in a very concentrated form.
The most instantaneous results I have yet obtained have been secured by using fused nitrate of silver for the bath; but unfortunately it is so uncertain in action that I cannot recommend it. I will begin by describing the bath. It is made forty grains to the ounce, and is saturated with iodide and bromide of silver. I find in practice that the immersing a plate is not sufficient, and that, when that method of saturation is employed, the plates sensitized in a bath so prepared—especially if kept a short time before they are developed—will be covered with myriads of microscopic pinholes.
For instantaneous operations the re-crystallised silver is necessary. The commercial article will frequently answer, but is not to be absolutely relied on. The best plan is to assume that it is acid, and drop in a few drops of moist oxide of silver; and then, after filtration, to add three or four drops of very weak nitric acid, say one part of acid to 100 parts of water. It will be found that a bath so prepared will be in its most sensitive condition.
The bath very rapidly deteriorates, soon loses sensitiveness, and is therefore unfit for operations where very rapid effects are desired; but it will be found to be in splendid condition for ordinary work.
I always use bromo-iodised collodion; for though, under some conditions, iodised collodion will give very rapid results, still, as a rule, the negative, though denser than that produced by bromo-iodised collodion, will be found to be too strongly marked in the contrast, and the delicate shadows will be buried long before the high lights are well printed. In some cases, where the subject to be photographed presents strong contrasts, I have used equal parts of bromide and iodide with great advantage.
For development the iron solution is generally thirty grains to the ounce, and frequently fifty. I am particular to employ glacial acid that is really pure, for much of the acid sold is not fit for photographic purposes, as it causes the silver to be reduced irregularly upon the plate, with a coarse metallic reduction in the shadows.
The dark box I employ I consider very portable, for it does not take up more room than a portmanteau when packed. I prefer to work through sleeves, for I have a strong objection to tents. A photographer working for instantaneous results should be very cool and collected—a state not easily obtainable with the thermometer at 90˚ in the shade; and the unhappy operator is not only boiling over the perspiration, and made game of by the boys, but is bagged as well. But the greatest objection to tents is the difficulty of keeping dust under subjection. We know that malevolent spirits love to abide in inanimate objects; otherwise how is it that the handles of jugs will come off, that bottles will tumble off shelves, and glass measures butt at each other until one or both are smashed? I suppose this supposition is the only way of accounting for the large amount of spite found to animate a small atom of dust. Most certainly dust is always present in large or small force watching the operations of the photographer, and when his back is turned darts down into the most conspicuous spot in the negative, which is regarded by these mischief-making spirits as the post of honour. This is no isolated experience. I appeal to all present if in portraits the nose is not always selected for the final abode of these very small atoms of dust.
I have found great difficulty in procuring yellow glass that is really non-actinic. I have two thicknesses of glass pronounced by the shopman to be absolutely impervious to chemical light, having been tested by the spectroscope; but I am compelled, when the light is very bright, to hang a piece of yellow calico over the window.
Too much attention cannot be paid to this matter, for one of the chief sources of annoyance is caused by the faith in the obstructive power of the glass. When a plate shows a tendency to fog it is so easy to blame the bath, the developer, the collodion—in fact anything but the real cause, which is above suspicion.
I like to finish the negatives on the spot when possible; but when working for rapidly-changing cloud-effects a great loss of valuable time would result. I therefore, after fixing, coat the plates with diluted glycerine and put them away in the plate-box to be finished at leisure.
If the negative be tolerably dense to being with, the plate may be dried; and, after well wetting it again, a saturated solution of bichloride of mercury in cold water should be rapidly poured over. As soon as the film is of a uniform grey the plate should be washed, and a solution of iodide of potassium (about one grain of iodide of potassium to one ounce of water) may be applied. This should be poured on and off once or twice, until a greenish slate-colour is seen. There should be no indication of the greenish colour on the wrong side of the plate, for it would be a proof that too much had been done to the negative.
The instantaneous apparatus on the table is that employed by me in the production of my pictures during the past summer. You will see it is constructed to give a longer exposure to the foreground than to the sky. The shutter is placed immediately behind the back lens, and is closed by pressure on a rod that comes through the top of the camera. As the rod can be pressed down slowly or quickly, it will be seen that the exposure can be varied at will. The apparatus is manufactured for sale by Mr. C.E. Elliott, and is the invention of a workman in his employ. I consider it a most valuable contrivance; for, while the most rapid exposure can be given, if necessary, yet, should the light suddenly fail, as is frequently the case, the rate of exposure can at once be moderated to suit the new requirements.
I have to thank you for your kind attention to a paper hastily prepared; and, should I have omitted any detail of importance, I shall gladly answer any question on the subject.
1863: BJP Jan. 1, vol. X, #181, p.21: 1863:
Notes of the Month.
Time, with remorseless fingers, has folded down another page in the chronicle of human affairs. Another year, best described as an exceptional one, is over—a year crowded with stirring events and many vicissitudes, in which photography has duly shared; and members of our guild perhaps have, on the whole, not much reason to look back upon 1862 but with feelings of kindliness. If photography has been slighted by Commissioners, i8t has been honoured by Royalty in a way in which it has never been honoured before; if it has been thrust into a garret by the ignorant, on the other hand it has occupied a degree of prominence in the public mind and in the current literature of the day never so conspicuous before. There has been real solid progress too, and a yet higher standard of excellence has been attained. British photography has come out of the trying ordeal of competition with the whole world in anything but an inglorious manner. The old year has taught many lessons—dispelled many illusions. Thus we may part with ’62 kindly and with regret, as with an honest, rugged friend, whose admonitions, if not often agreeable, were always wholesome and salutary. Requiescat in pace!
So far, the arrival of contributions to the forthcoming Photographic Exhibition in Suffolk Street does not give promise of a large Exhibition, though it will probably be a good one. Photographers have, perhaps, not borne in mind how very much greater is the wall-space to be covered at the spacious rooms in Suffolk Street; some also of the formerly largest exhibitors have forsaken their first love for the seductive carte de visite. Mr. Mudd is said not to have taken a single landscape during the past year. Mr. Bedford will probably prefer to be represented by some of his Eastern scenes. Mr. Vernon Heath
Will have some fine pictures executed for Her Majesty, and some exquisite bits of “wood and water” scenery. There will also be some very beautiful pictures by the Hon. Major Vernon, of Italian and Florentine subjects. Mr. Robinson’s greatest and most successful effort in composition subjects will be there. Although he has doubled the price of it (from ten to twenty guineas) he continues to receive more orders than he can possibly execute.
Messrs. Lovell Reeve and Co. contemplate the publication of a Carte-de-visite Magazine, on much the same principle as their former well-known Stereoscopic Magazine, each number to contain a portrait and short biography of some celebrity.
[Portion of article omitted]
Cameras, and brass-barrelled lens tubes are often to be seen hovering about the shrubberies of Mr. Tennyson’s marine residence at Freshwater, intent upon getting views of it, or even, if possible, to rob him, not of his purse—nor that greatest of all social robberies, his good name—but of his portrait. To have it over, once and for ever, Mr. Tennyson sat the other day to Mr. Jeffries, Bloomsbury Street, for twelve portraits, seven of which are to be published immediately. Mr. Tennyson is also sitting to Mr. H. G. Watts, the eminent painter, for a portrait for the Duke of Argyle. S.T.
1863: BJP Jan. 1, vol. X, #181, p.21-22:
Waif and Strays.
Archæological Institute.—At the December meeting of this Society, a very fine series of photographs were exhibited by Mr. Tregallas, illustrative of the present condition of the interesting abbey of Valle Crucis, in Wales. These were photographed by Mr. Traer.
[Portion omitted]
Photographic Society of Philadelphia.—It is with much pleasure that we hail the formation of a new Photographic Society in Philadelphia, the birth of which is due to the energy and perseverance of our esteemed correspondent, Mr. Coleman Sellers, aided by Professor Edwin Emerson, and Messrs. Fassit, Corlies, Sergeant, and Borda. The meeting to inaugurate the new Society took place on Wednesday, the 19th of November last.
[Portion omitted]
Photographic Book Illustrations.—The Saturday Review, reviewing Mr. Bennett’s new edition of the Lady of the Lake, says:--“We hardly know how far photographic illustrations are to become general. For a certain class of books they are all but indispensable. In some departments of archaeology, as in reproducing MSS. And inscriptions, and in medical works, where everything depends upon the most severe and minute scientific accuracy, we are rather surprised that the resources of photography have not been more largely appealed to. As it is we can only remember a few books which have been published with photographic illustrations. One of the best, because most valuable in a scientific point of view, was Professor Smyth’s book on Teneriffe. Among the last year’s annuals, one on the scenery of the Conway, with very good stereoscopes (stereographs?) [sic] was published.” The reviewer then goes on to say of the particular work under notice that the view of Scott’s Tomb, at Dryburgh, by Mr. Wilson, is best, being “clear and sunny.” And adds—“The landscapes, wood and water, are not all very satisfactory. Coilantogle’s Ford and Loch Achray are the best and clearest, and give some notion of air and light, as well as of foreground; but Ellen’s Isle is terribly funereal.”
New Publications.—As it seems that almost the only vehicle likely to convey down to posterity all the great and little celebrities of our age is the “carte,” we have been looking for the announcement just made—viz., that Dr. Colenso’s album portrait is published—for some time past. The London Stereoscopic Company will doubtless reap a large reward for thus gratifying public curiosity concerning the Bishop of Natal’s outside appearance.—Mr. Provost has just published, by permission, a very interesting photograph taken in one of the private apartments of Windsor Castle. It represents the Queen, the Prince of Wales, the Princess Frederick William of Prussia, and the Princess Louis of Hesse, grouped near a flower-wreathed pedestal supporting a marble bust of the late Prince Consort. The artist is Mr. W. Bambridge, of Windsor.—Among the new Christmas publications, Sir Walter Scott’s beautifully descriptive poem, the Lady of the Lake, is once more published in an elegant new edition by Mr. Bennett, the work having the novel feature of being illustrated by a series of photographs. The subjects selected are fourteen in number; the names of their respective photographers being Messrs. Thompson, Wilson, and Ogle.—In the week ending December 13th, Mr. Mayall was honoured with a sitting by the Princess Alexandra. Eight of the negatives, each representing a different pose, will be published, a fact scarcely known before Mr. Mayall received an order for one hundred thousand copies.—Messrs. Smith, Beck and Beck are publishing a new series of lunar photographs by Mr. Warren De la Rue. They are twelve in number, various in size, and are enlarged very perfectly from originals one inch in diameter.—A curious photograph of the comet of 1858 contrasted with that of 1861 is published by Mr. De la Rue himself, in one of his Red Letter Diaries.
Infringement of the New Copyright Act.—Mr. Heywood, of Great Portland-street, London, has surrendered a large quantity of pirated copies of the portrait of Miss Lydia Thompson to Messrs. Southwell Brothers, photographers, and paid a fine of five shillings inflicted by the magistrate of Marlborough-street Police-office, for vending the same.—Mr. Milford, of Oxford-street and Dorset-street, also paid a fine of forty shillings for a similar offence, at the same court. Pirated copies being still made and sold very largely—as witness the frequency of their exhibition in the shops of suburban stationers—we may expect to see these cases somewhat frequently brought into our Police-courts during the next twelve months. [rest omitted]
1863: BJP Jan. 15, vol. X, #182, p.26:
A Photolithograph.—By the kind aid of Mr. George A. Dean, of Douglas, Isle of Man, we propose in our issue for the 1st prox. To present our readers with an interesting specimen of photolithography, illustrative of the progress which has been made of late in the practice of this very useful and efficient means of reproduction. Mr. Dean, besides being a lithographer and engraver, is also a skilful photographer; and our readers will readily perceive at the first glance at the specimen what an important part photolithography is destined to play. The specimen in course of preparation is the reproduction of an etching by the well-known artist, Mr. Edward Henry Corbould, having also the additional interest to our countrymen of being from an original design by our own Princess Royal, N.R.H. the crown Princess of Prussia. The subject is taken from a scene in Shakspeare’s play of “Richard the Second,” being the Entry of Bolingbroke into London. With regard to the merits of the production, we prefer to let it speak for itself; and as to its method, we may perhaps prevail upon Mr. Dean to give a detailed description of it in these pages at no very distant date.
1863: BJP Jan. 15, vol. X, #182, p.30:
Death from Poison. –Caution.—On the 26th ult. A porter in the employ of Messrs. Hopkin and Williams, photographic chemists, New Cavendish Street, London, drank of some beer which had been left by himself and fellow-workmen under the counter after partaking of it on Christmas Eve: immediately afterwards he fell down in strong convulsions and shortly expired. The beer was found to contain strychnine, but whether placed there by the deceased or by any other person was not elicited at the inquest and an open verdict was returned.
1863: BJP Jan. 15, vol. X, #182, p.31-33:
Exhibition.
The Ninth Annual Exhibition of the Photographic Society (London)
On Saturday, the 10th instant, the private view of one of the most interesting collections of photographs that have hitherto been gathered together was held at the rooms of the Society of British Artists, in Suffolk Street, Pall mall, London; and on Monday, the 12th instant, the Exhibition was opened to the public. It is notorious that now-a-days private views are more crowded than public ones; and, despite the large space and ample accommodation in the rooms at present occupied by the Photographic Society, it was not at all times easy to obtain a sight of the particular specimens to which one’s attention was at the moment directed. The collection is indeed a large one, and of very great excellence, upwards of a thousands specimens being included, not reckoning each carte de visite as a single work; for though the numbers in the catalogue do not amount to so many, there are numerous instances in which four, six, and sometimes nine ordinary-sized specimens are defined under one number.
It has been thought by some that it would be unwise to hold an exhibition of photographs so soon after the closing of the International Exhibition, and that but few contributors would be found willing to assist. Our own opinion was so diametrically opposed to such a view that we advised the holding of an Exhibition by the Photographic Society even during the time that the International Exhibition was open; for to English photographers the display (if such it can be called) at South Kensington was absolutely worse than useless. The present gathering shows in pleasing contrast to that in the miserable cock-loft then occupied. Here one can see the works exhibited without knocking one’s hat against the pictures behind, while straining the neck in throwing the head back in order to get an oblique view of a frame two or three feet above the line of sight.
At the time when the “Notes of the Month,” published in our last, were written, the number of works then sent in was comparatively small, many of the intending contributors having been reprehensibly late in forwarding their pictures; but towards the close of the time at which they could be received they came pouring in. The result of this has been that besides adding materially and unreasonably to the labours of the hanging committee, a large number of specimens has been necessarily stowed away in a store-room, in addition to very many that have already been returned for want of space to display them, although the space occupied is already very large indeed.
The first thing that arrested our attention on entering the room was the fact that there were but few pictures of a large size, such as we used to find formerly; and though we admit that it detracts somewhat from the coup d’œil of the Exhibition as a whole, yet we are convinced that in confining their efforts to the production of pictures of more moderate dimensions, photographers have acted wisely. Not only are the results more adapted for mounting in albums and storing in portfolios than the more cumbrous sizes, but the optical difficulties involved are more easily surmounted, and the operator is not distracted by the thousand-and-one petty annoyances inseparable from the manipulation of very large plates. The majority of landscape specimens in the collection now open vary from 9 x 7 inches to 12 x 10 inches in dimensions.
It would be utterly impossible in the time and space at our disposal to give, in the present number, more than a very cursory notice of the works exhibited; we shall therefore not attempt to do more on the present occasion than indicate some of the salient points of the scene, and postpone to a future opportunity more detailed criticism. We may, however, remark that the number of contributors, as well as of specimens, is considerable, and that the average standard of excellence is decidedly high. Another pleasing feature is the number of lady contributors—one of whom, the Vicountess Hawarden, ranks second to none, whether professional or amateur, for artistic excellence in the productions exhibited. On either side of the fireplace are some small frames containing some of the most charming figure studies—for though they are portraits, undoubtedly they are also of far wider interest than any portraits can be—which we remember ever to have seen. Graceful pose, delicate play of light in every gradation of half-tone, fine chiaroscuro, with unity of design, are amongst the many excellent qualities they possess. Were this lady a professional portraitist, instead of a fair amateur, she would not, in our opinion, wait long without gaining both fame and fortune.
Immediately over the fireplace, in a well-merited post of honour, is Mr. H. P. Robinson’s composition, Bringing Home the May—certainly one of the most ambitious as well as one of the most successful specimens of its genus. The wooded background is in this picture receding, as it should be—with plenty of atmosphere, the play of light and shade on the faces and figures of the girls very pleasing, and the whole production one well deserving of both honour and profit. The following lines from Spencer are appended to the picture by the artist, and appropriately illustrate the subject:--
“When all is cladde
With pleasaunce, the ground with grasse, the woods
With greene leaves, the bushes with blosming buds.
Youngthe folke now flocken in everywhere
To gather May-buskets and smelling brere;
And home they hasten the postes to dight
And all the kirke pillours eare day light
With hawthorne buds.”
A description of the picture has already appeared in these pages from the pen of our Devonshire special correspondent, and we have received from a valued contributor the following stanzas in its honour, which we may appropriately insert here:-- [long poem by H. P. Robinson omitted]
Mr. Robinson also contributes some other minor specimens, amongst which we notice two pleasing ones near the door of entrance, both vignetted,--the May Queen and the May Gatherer.
On the side of the room facing the fireplace there are three large frames, each containing nine pictures, which cannot fail of arresting the attention of the most casual observer. These are by Lieut.-Col. Stuart Wortley, and consist of instantaneous pictures of considerable size, including some of the most beautiful sky and atmospheric effects, after the manner of Wilson, but on a larger scale than he usually publishes. Mr. Wilson, as a professional photographer, prudently addresses himself to an extensive clientele; but the distinguished amateur whose productions are now under notice, not being dependent upon the public for remuneration, can afford to disregard all considerations but those connected with the advancement of our art. This is one of the many advantages which professionals derive from admixture of the amateur element in their avocations. Amateurs act as pioneers in the way of progress, and, moreover, promote a demand for the fruit of the labours of professionals. Colonel Wortley’s productions are all of very great merit. Perhaps those labelloid Clouds, and Sunrise over Vesuvius, are the most extraordinary cloud subjects yet attained. Highly picturesque and effective, also, are Shrimp Catchers at Sunrise, a Wave Rolling In, and Morning after the Eruption of Vesuvius in 1861. These are some of the gems of the Exhibition.
While on the subject of the more than usually artistic productions, we must not omit noticing one near the door on the left side as you enter the large room: it is designated Footsteps of Angels, by Messrs. Bullock Brothers. An old man and his daughter are sitting over the fire, the light from which illumines the faces of both with a Rembrandtish effect, very telling indeed, and cleverly managed. Further on the centre are two studies, forming a pair, entitled Mischief and Startled, by the same artists as the preceding. In the first is a young girl asleep on a sofa, while another, in walking costume, with a bouquet in her hand, is tickling the face of the sleeper with one of the delicate leaves. In the other, the troubler of repose has roused her slumbering friend, and drawn back out of the immediate range of vision of the other, who has thrown herself over in an attitude of surprise. The idea is good, but the execution is only partially successful. The girl supposed to be sleeping is evidently awake, which would be evident to an observant eye if the hand only were visible, the fingers being in a state of tension that could not consist with a body in perfect repose.
We are much pleased to find a goodly show of Mr. Francis Bedford’s delightful works. There are many that we have already noticed from the collection illustrative of his Eastern tour in the suite of His Royal Highness the Prince of Wales, and their present arrangement by no means detracts from their beauty. There are in addition many new subjects, some of which we very much admire, especially the Vale of Neath, St. Catherine’s Cave, Tenby, Cheddar Cliffs,, and A Devonshire Lane. We observe with satisfaction that several are marked as being the property of the City of London National Art-Union—a fact indicative of the advancing estimation in which our art is held. Any collection deficient in Mr. Bedford’s works would be wanting in a feature that no other person could supply—not even Mr. Stephen Thompson, who, probably from frequently working with Mr. Bedford, is imbued with somewhat of his spirit, just as musicians who often perform together contract a similar style, or, at any rate, styles somewhat akin to each other. Mr. Stephen Thompson has recently been working in Northumberland and Cumberland, and brought away many reminiscences of the Border districts, including Dryburgh, Jedburgh, and Kelso Abbeys’ Bamborough, Richmond, and Warkworth Castles; Durham Cathedral, &c., &c.—most of which appear in the present Exhibition. The name of Thompson naturally brings us to the consideration of the contributions of Mr. C. Thurston Thompson, whose style differs from that of his namesake as widely as light from darkness. This gentleman we regard as the English archpriest of reproductions, in justification of which opinion we have only to point to the magnificent display of his photographs from Turner’s paintings, which will be found near the door leading into the small room containing the coloured photographs. These reproductions are truly marvellous for their perfect rendering of the spirit of the artist, and form a striking contrast to those of another exhibitor who has attempted similar subjects. That of the Téméraire being Tower to her last Moorings is, perhaps, la crème de la crème. We shall no doubt lay ourselves open to adverse criticism when we assert—what is nevertheless the fact—that we prefer some of Mr. Thurston Thompson’s photographs to the original paintings. But we give a reason. In the originals the glaring colours perplex us, so that we miss the poetic feeling intended to be conveyed; but in these interpretations in monochrome we lose that confusion, and rejoice in the composition and chiaroscuro. Of these we feel quite assured, that Mr. Thompson’s labours will tend to spread still more widely the fame of the celebrated painter.
Mr. Vernon Heath comes out in full force this year, both in the quantity and also in the quality of his productions. Though not exclusively confined to that spot, the bulk of his pictures will be found on the side of the fireplace towards the spectator’s left hand. Some of the scenes exhibited we have before seen in the artist’s studio: others are new. But most, if not all, are charming; and we find it difficult to name one or two as pre-eminent in excellence, so generally good are they all. We shall therefore postpone detailed notice until a future opportunity. There is one slight error to which we would draw the attention of Mr. Heath, and which we are convinced so observant a gentleman needs but to have pointed out to avoid in future—we mean the introduction of the small gilt line in the mount of most of his landscapes, which mars the effect of all to which it is appended, but especially in the vignetted subjects, which, instead of melting away, as it were, into mere blank paper, are in effect circumscribed and limited by this simple line. In two contiguous frames the pictures are respectively with and without this line, and are so placed that comparison is inevitable: the appearance is very much in favour of the specimens without the line, irrespective of the subjects themselves.
While on the subject of mounts we cannot forbear noticing, also, the detrimental effect produced by two other breaches of good taste by the introduction of unnecessary distractions. One is the appendage of the words “Amateur Photographic Association,” in heavy type, below a considerable number of pictures contributed by that body; the other is the impress of the Royal Arms in printing ink rather prominently on the mount about the pictures of the London Stereoscopic Company, the photographs of which firm form a compact mass in the angle corresponding to that where Mr. Thurston Thompson’s productions are situated. One of the pictures is without the Royal Arms, and the contrast with the others is palpably in its favour. No doubt the words “Amateur Photographic Association” have been appended with the best motive—that of not claiming to himself any personal merit by the exhibitor, Mr. Melhuish; but it is an æsthetic error, nevertheless. There is no objection to the addition of the words; but, like the arms above noticed, they mar the pictorial appearance. The best method in these and similar instances, where it is deemed desirable to have certain words or devices affixed to the paper or card-mount is to impress them by means of a raised embossed stamp, merely impressing the paper without the addition of ink or colour of any kind.
Mr. Dixon Piper has some excellent landscapes, but what we admire still more are some studies of weeds of various kinds.
Mr. Russell Gordon contributes several characteristic and charming English lane scenes; and Mr. Morgan, of Bristol, many of his gems of landscape-art, in his familiar style.
Mr. Mudd and Mr. Spode both send some specimens, but they do not appear in full strength on the present occasion.
Mr. Annan, of Glasgow, exhibits some very fine landscape subjects, of great photographic excellence and high artistic merit. His works are but little known in London; but from this time forth he must take rank amongst our first-class artists. The dimensions of his pictures are generally larger than the majority of those in this Exhibition. Mr. White has, on the other hand, reduced the scale upon which he has been working, and, in our opinion, it has been much to the advantage of the results obtained. The picture he exhibits are all pleasing.
Mr. Manwaring has contributed many of his beautiful portraits of flowers.
Messrs. Fothergill and Branfil show some well-executed scenes in the neighbourhood of Genoa.
Lady Joscelyne and Mrs. Verschoyle are amongst our landscape photographists of repute: and there are some very nice small sized landscapes by Mr. Layland, of Cambridge.
Mr. Rouch exhibits, also, some well-executed small-sized landscapes, and Mr. Monkhouse illustrates a method of “putting in skies.” Mr. Hanson, of Leeds, shows a few of his productions of high merit, noticed before in these pages. Mr. Penny, of Cheltenham, illustrates the advantage of fuming the sensitized albumenized paper with ammonia, in accordance with the suggestion of Mr. Anthony, of New York.
Mr. Lucas, of the firm of Lucas Brothers, contributes two or three genre subjects, one of which possesses considerable merit and will, no doubt, attract a full share of attention at the present crisis; it is entitled Hard Times, and illustrates the nakedness of the land in a poor workman’s cottage. Mr. Brownrigg, of Dublin has sent some photographs of a Hawthorn Grove in Phoœnix Park which are vigorous and charming productions.
We have said nothing yet about the portraits. M. Claudet is a large contributor, and we need scarcely add, to those acquainted with his skill, that most of them are graceful and artistic productions—many of them very fine. His enlargements we do not admire, especially the Gorgon’s Head over the doorway’ for when untouched they are so deficient in definition as to be highly unsatisfactory, and when painted we cannot regard them any longer as photographs.—Whilst alluding to enlarged specimens we may as well note others of this class.
Mr. Stuart, of Glasgow, has sent the best untouched specimens that we have yet seen from any one; and we must candidly admire that they are really good, in spite of the theoretical objection to his method of producing them, so far as some of the optical points involved are concerned. We cannot avoid the conclusion that were he to eliminate these, his manipulation is so excellent that his results would then leave absolutely nothing to be desired.
A landscape enlargement by Mr. Pointing is not satisfactory.
Some enlarged portraits by Mr. Amos, of Dover, are so coloured that nothing of the originals remain. In one instance, however, there are coloured and plain pictures adjoining, representing the same two ladies, and the inevitable conclusion is that, if a colour improves the pictures, it spoils the likeness.
Mr. Mayall also comes out with coloured enlarged portraits.
Mr. Williams does not depart from his well-known excellent style, and he acts wisely. His reputation in his own particular class of portrait is unassailable.
We are rejoiced to find Mr. Hennah once more an exhibitor. Fine as his portraits used to be he has improved upon them: some of his portraits of children are really admirable.
Mr. Jeffrey’s portraits of Thomas Carlyle and Tennyson are sure to attract a large share of attention.
Mr. A. Brothers has sent several specimens of his grouped portraits of leading members of the British Association for the Advancement of Science, &c.
Mr. Cooper, jun., has contributed some of his best specimens of printing on resinised paper.
We have not half exhausted our notes, which we took, by the way, with little or no aid from the catalogue, and which we have been writing from in the same desultory manner that we noted them down; but space warns us that we must bring our observations to a close.
Of carbon prints, of various kinds of foreign contributions, and of several ingenious adaptations and modifications of our various processes, as well as of stereoscopes and apparatus of all kinds, we must postpone notice to a future occasion. We will only add, in conclusion, that visitors will find their time pass quickly away in examining the collection, and that they must be indeed hard to please if they do not find very much to gratify their taste.
1863: BJP Jan. 15, vol. X, #182, p.40:
Waifs and Strays. [selection]
Photography At Rome.—Cardinal Antonelli has given Mr. Severn permission to photograph such of the works of Raphael as are preserved in the Logge and Vatican. Those in the Stanze were, with some others, found to be too far gone to produce satisfactorily results, if any.
A Last Memento.—The unfavourable state of the weather during the ceremony of depositing the remains of H.R.H. the late Prince Consort in the Mausoleum, deprived us of an interesting memento, it having been arranged to photograph the ceremonial; but, from the cause above stated, no satisfactory result could be obtained.
Historical Documents.—F.S.A., writing to the Parthenon, complains that invaluable historical MSS., in both private and public collections, are perishing daily from the carelessness or ignorance of those who have the care of them. Many proprietors of such rare documents would doubtless lend them for photographic purposes, and their preservation might thus be rendered more certain. We throw out this suggestion as one likely to benefit photographers through the antiquaries, who are becoming anxious about this wholesale destruction of choice relics.
Photographing Upon Moving Water.—As we often mourn over the seeming impossibility of obtaining photographic views from the surfaces of lakes and rivers, we think our readers will be interested to hear how an artist has recently overcome the difficulty. Mr. Hamerton, in a work just published, called “A Painter’s Camp in the Highlands, tells how, finding that some of the finest effects of nature could only be studied from such surfaces, resolved to construct a boat which should remain steady in the strongest seas, and so provide a perfectly stable foundation for his easel. Having seen the model of a double canoe such as is manufactured by the South Sea natives, and which was exhibited in the Louvre, he placed a species of raft, or flat deck, upon two parallel cylinders of iron, divided into air-tight compartments. The combined boats, thus furnished, by their buoyancy and balance, were found to answer the purpose very well indeed—a table, chair, and easel standing perfectly secure upon them, and no chance of an upset, with as little of water resting in them, existing. Although having very slight draft of water, it was found that heavy loads might be securely carried. On one of these Mr. Hamerton lived, under a comfortable tent, defying the sudden violent squalls common to the Scotch lakes, and painting away in sunlight and moonlight—at morning, noon, and night—in stormy weather and in fair—earnestly and patiently watching and waiting, in the great school of nature, for his most glorious effects of earth, air, and water.
1863: BJP Feb. 2, vol. X, #183, p. 53:
Exhibition.
The Ninth Annual Exhibition of the Photographic Society (London). (Second Notice).
In our previous notice we were compelled, for want of space, to conclude without nearly exhausting the memoranda we had taken during our first visit; and the same cause will prevent our making more than a few desultory observations upon the present occasion.
The amount of apparatus exhibited is but small. But prominent amongst it is a large-sized, handsome, and well-constructed swing-back camera, by Mr. Meagher, which is well deserving notice from its excellent workmanship; but doubly so on account of the generosity of the maker, who has desired it to be sold and the proceeds applied to the relief of the distressed cotton-spinners in Lancashire. We trust that it will find a ready purchaser, and we are satisfied that the donor will not be deficient in commissions for the construction of many others of a like or different form.
Several forms of that useful adjunct of the photographic studio, the rolling press, are to be found in the Exhibition-room, displaying various degrees of convenience, various methods of effecting the same object, and no doubt equal variations in the several prices demanded.
In the centre of the room is a glass case containing some beautiful specimens of photography upon while silk, executed by Mr. H. Cooper, Jun., which are mostly wrought intouseful and ornamental articles, such as hand-screens, watch-pockets, table-mats, &c. In the International Exhibition there were some similar specimens in the French Department, the method of production not having been indicated; but those of Mr. Cooper’s are produced by a modification of his resin printing process; and, in our opinion, nothing could be more elegant and effective than some of the specimens mounted as screens—one of which is an excellent and pleasing likeness of Mr. Hardwich, from a negative by Mr. T.R. Williams; and another of a bride, in which the transparency of the lace veil is beautifully rendered, the negative also being by the same gentleman. Besides Mr. William’s and his own negatives, Mr. Cooper has had the use of some of Mr. Stephen Thompson’s, and his whole collection makes a very pretty display of itself.
On the base of Mr. Cooper’s stand we noticed a frame of excellent card-portraits, by Mr. H. Mullins, of Jersey. In addition to those taken in the usual style, there are some nicely vignetted; but what pleased us most were several admirable cartes of children in natural and graceful attitudes, the whole of them possessing far more artistic excellence than is usually to be met with in this class of productions.
The several stands upon which stereoscopes are displayed usually attract a full share of attention, and deservedly so; from there are exhibited in the different instruments some of the most interesting specimens on glass of this interesting class of photographs by Breese, Ferrier and Soulier, Samuel Fry, and others.
In the south-west room, wherein the foreign photographs are collected together, we noticed an enlarged proof of the Alhambra, from a small negative taken by M. Bertsch’s automatic camera; some views from waxed-paper negatives, by M. P. Delondre, that were very artistic; and two others of a like character, also from waxed-paper negatives, by M.D. Roman.
Seventeen illustrations of Algeria—consisting of buildings, costumes, and types of humanity—intended for a national work, to be published in France, under the auspices of the Minister of War, are from negatives by M. Moulin.
There is a very excellent portrait of the Empress of Austria, by M. Angerer, and two views at Nice, by M. Aleo, that are worthy of special examination.
Before concluding we must not omit to direct attention to some highly-interesting specimens of photographs on enamel, by M. Lafon de Camarsac, that are truly beautiful. These have been produced by a process that was describe ed in our pages some two or three years back, and which closely resembles that of M. Joubert. The productions of M. Lafon de Camarsac are adapted for mounting as brooches, bracelets, and other ornaments, and are of a much more highly artistic character than anything for similar purposes that we have elsewhere seen. Some of the specimens also are upon saucers, cups, plates, &c., and they closely resemble the finer kinds of ancient china.
1863: BJP Feb. 2, vol. X, #183, p. 52:
Stereographs.
Highland scenery—Cathedral Illustrations—and Scenes on the River Thames.
Photographed by George W. Wilson, Aberdeen.
Much as we admire Mr. Wilson’s productions in general, we never like him better than when amongst his own Highland scenery. Loch Katrine—sweet Loch Katrine!—how many spots around its shores invite one to sit ‘neath the shade of the sheltering trees, and dream away a summer holiday. For instance, Ellen’s Isle (No. 36): what a charming pyramid of vegetation it displays, backed by the bare and rugged hills sloping down to the opposite shore of the lake! How cool and transparent the water, tempting one to a plunge, and no difficulty about finding a convenient dressing-room amidst the thicket from which we are looking out! Again: what a magnificent “bit” we have in No. 10B, with Ben Venue lit up with full sunshine as a background, a dense fringe of fine trees in the middle distance on the borders of the lake, in which the clear water reflects suggestively the fine play of light and shade on the trees, the little promontory in the right foreground with the silver-birch trees on the promontory—the last covered densely with fronds of large ferns—now form important foreground objects, of which the hazy reflections in the water are very telling. A rugged fragment of cliff crowned with a few fir trees and embedded in a mass of others, interspersed here and there with larches in their bright spring foliage, is seen in the centre; and the bare rocky mountain behind contrasts well with it, while the current of the water is plainly perceptible. The Boat House (No. 20) is another charming composition; but in all of these we miss the fine clouds which generally adorn Mr. Wilson’s pictures.
The Pass in the Trossachs, looking towards Ben Venue, (No. 22), is one of those charming representations of romantic scenery in which Mr. Wilson excels, every shrub and tree being distinguishable from its fellow, every crag and channel on the mountainside being clearly defined, yet without the slightest appearance of hardness or frittering away of effect in minuteness of detail. The shadows cast by some of the trees on those adjoining are very beautiful.
A “Bit” in the Trossachs (No. 58) is a wonderful specimen of stereoscopic photography. Exquisite in detail, picturesque in subject and illumination, it is a study for an artist, albeit a little deficient in artistic quality from being all too well defined: in fact one can peer into every leaf, every spray, every pebble, every scrap of moss, as well as if each were in our hand, better far than we could do if standing on the spot whence the view was taken; but for all that we would not have it different, for it has a peculiar value which it would not possess were the definition less painfully penetrating.
The Entrance to the Pass of Ballater (No. 42) is nearly as full of detail as the preceding; but there is so much subordination of the several parts, and such a delicate balance between light and shade, that no artist would take exception to the combination as a whole any more than to each separate portion. A fine effect is produced by the sunlight streaming over the upper halves of the tree in the plantation in the valley, while their lower portions are in the shadow of the hill-side, behind which the sun is shining.
In No. 8A we have the Waterfall at Inversnaid, on Loch Lommond; in No. 37 Stonebyres Falls, on the Clyde; and in No. 7 [GET REST] Part of Bonnington Falls, on the Clyde—all abounding in beauty but the last named pre-eminently so.
As specimens of grandly-wild scenery, we have The Island of Loch Muick (No. 439), The Dhuloch (No. 436), and Loch-na-[GET REST] (No. 434) at Balmoral. These, though curious, are not describable so as to give any clear idea of their characteristics.
Amongst the Cathedral series are many interiors as well as exteriors of York Minster, Winchester, Peterborough, and Durham which want of space will not permit us to describe in detail; but there are a few which we cannot forbear noticing. The Interior of the Lantern Tower (No. 377), York Minster, is a view taken with the camera pointed upwards directly towards the zenith and, in order to appreciate the full effect of the stereograph, it is requisite to view it with the stereoscope help up towards the ceiling, so as to look upwards as if viewing the original, otherwise the reality of the appearance is lsoe. The sunshine streaming diagonally adds much to the effect.
Durham Cathedral, from the river (No. 380), is very picturesque and The Galilee, or Lady Chapel, of the same (No. 385) effective [missing?]
We must conclude with merely mentioning a series, including some fine specimens of river scenery with cloud and water effects, passengers waiting for the steam-boats, others in which they are landing or embarking, ships of war at Portsmouth Harbour, and scenes of a like character, for which Mr. Wilson has long been famous. Some of these are not quite so brilliant when taken on the banks of the Thames as others of the same artist when taking in localities where the atmosphere bears a less striking resemblance to pea soup; but possibly a portion of this comparatively somber aspect may be due to a trifle of under-exposure in order to arrest the moving objects in their onward flight, or possibly we know the banks of the Thames too well, and do not care about these subjects so much as those with which we are less familiar, and consequently regard them with a less favourable eye. Be that as it may, they possess some exquisite qualities, in proof of which we need only indicate No. 410—The Thames at Greenwich; waiting for the boat—which is really a fine study.
1863: BJP Feb. 2, vol. X, #183, p. 55:
Meetings of Societies.
North London Photographic Association.
An ordinary meeting of this Association took place at Myddleton Hall, Islington, on the evening of the 21st ult.
Mr. George Dawson, M.A., having professed himself unable, through fatigue consequent on two successive nights of travel, to perform the duties of Chairman, Mr. Hislop was unanimously voted to that office.
The minutes of the previous meeting were read and confirmed.
The following gentlemen were balloted for and duly elected members of the Association:--Messrs. P.E. Coffey, J. Martin,--Snoad,--Thomson, T.R. Williams, and E. G. wood.
Mr. Dallmeyer exhibited three reproductions by Mr. Thomas Annan, of Glasgow, copies of which had been presented to the members of the Glasgow Art Union in lieu of the usual presentation engravings. The subjects were—Morte d’Arthur, by Noel Paton; The Better Land, by Sant; and White Cockade, by Millais. The first fo these was painted in monochrome, with especial reference to the exigencies of photography, as explained by Mr. Simpson, who further added that each artist received 100 guineas for his production. The originals of the other two were ordinary oil paintings; and it was remarked, in the conversazione which took place after the meeting, that the latter had yielded rather the better copies.
Mr. Simpson exhibited some stereographs by Messrs. Wilson and Ogle, of Aberdeen, a detailed notice of which would be a work of supererogation.
Mr. Sydney Smyth exhibited some instantaneous stereographs of Plymouth and its neighbourhood, which elicited expressions of admiration from many members present; among others, [section omitted]
Mr. King, in compliance with an invitation from the Chairman, read a paper entitled Memoranda of a Photographic Trip in Norway, by the Rev. Arthur B. Cotton, M.A. [section omitted]
Mr. Dawson, referring to the stereographs of Mr. Wilson, which had been shown that evening, while awarding the due need of praise to their general photographic excellence, could not refrain from saying that the architectural subjects almost invariably bore painful evidence of having been taken with a single lens; the columns being curved inwards, as though they were in great torture from the great weight they had to bear. He thought it matter for surprise and regard that these defects should be allowed to occur, marring the effect of otherwise perfect photographs, when lenses had been invented by the use of which it could be completely obviated.
Mr. Hill suggested that a portion of the defect referred to might have arisen from tilting the camera.
Mr. Dallmeyer admitted that the lenses employed by Mr. Wilson were single combinations, specially constructed of large aperture for instantaneous work. Mr. Wilson was very partial to single combinations, and relied on the six-inch-focus lenses, usually adapted to stereoscopes, to correct this distortion of the image, which they did in most cases very effectually; but Mr. Dawson not being able to use the stereoscope, of course was unable to appreciate this, and felt it to be painful to his eyes to see the distortion as it appeared in the stereographs when not viewed through the stereoscope. He (Mr. Dallmeyer) thought they had then arrived at a point when large-sized pictures with curved lines would not be tolerated. He had made a camera in which the plane of delineation was parallel to the plane of the object; and might refer to some pictures, by Colonel Stuart Wortley, in the Photographic Exhibition now open, as evidence that the triplet was in every way suited to overcome the defect referred to: he might perhaps be permitted to say further that this arrangement of lenses was not only being received with favour, but that it was being imitated. Some of the stereoscopic views of the London Stereoscopic Company had been taken with a No. 1B lens.
Mr. Dawson could not say that all Mr. Wilson’s interiors were taken with a single lens; the focal length and distance from the object would determine the choice in this matter. There were one or two specimens evidently taken with a long focus lens. He was not aware that any other lenses had been adopted for stereoscopic work besides the single and ordinary compound ones. In reference to the stereographs exhibited by Mr. Smyth, he thought them very like Mr. Wilson’s: the difference, however, was this, that while Mr. Wilson’s were more distinguished for an exquisite softness and detail in distant objects, those of Mr. Smyth’s, though generally speaking not inferior, were evidently taken with an enormous flood of light from a double combination; and, in consequence, it would be seen on examining the distance with a magnifying glass that the detail was not so good, nor could it be. When the condition of the chemicals admitted of it, it was certainly better to use a single lens for general landscape purposes. The inference deducible from the two classes of pictures was, that Mr. Wilson’s chemicals were of a more sensitive character than those employed by Mr. Smyth.
Mr. Smyth explained that many of his pictures were taken on dull days when the distance was naturally hazy, as would be seen on examination.
Mr. Seely enquired if there was not a considerable loss of light by reflection from the surfaces of double combinations?
Mr. Dallmeyer said there was, but that more was
set down to this cause than was really true: according to the authority of
Petzval it amounted to 1/30th. His own experience led him to confirm
that opinion, and he would refer, in illustration, to some comparative
experiments made in this direction. He had been making a lens for Mr. Wilson,
who worked with 5/8 stop and 6-inch focus. The lens was tested, and a picture
of the same subject taken with a double combination from the same object. The
negative obtained by Mr. Wilson’s lens was a bare positive, while the one
from the double combination was an over-exposed negative. He therefore
concluded that Mr.
Wilson employed very sensitive and carefully-adjusted chemicals. In
reference to the subject of instantaneity, he might say he had nowhere seen the
same degree of perfection attained as in those of Mr. Breese’s, in
comparison with which Mr. Wilson’s must b e regarded as
quasi-instantaneous. It would be remembered also that they were sea views,
which as was known did not require the same exposure as land subjects. Such a
high degree of perfection had, however, been attained by all these gentlemen,
that until amateurs could produce the same amount of sensibility in their
chemicals, he was of opinion that double combinations would still continue to be
used. Mr. Breese had recently succeeded with a double combination in
getting the markings on the moon’[s surface by an instantaneous exposure; while
Mr. De la Rue, with his arrangement of reflectors, had been obliged to
give five seconds’ exposure. He thought great advantage would accrue from Mr.
Breese’s method of working, since, if instantaneous views of the moon’s
surface were taken and subsequently enlarged, results would be obtained such as
hitherto the most experienced stellar photographers had been unable to
accomplish.
The thanks of the meeting were accorded to Mr. Smyth for his exhibition of instantaneous stereographs, and the meeting concluded with the usual conversazione.
The next meeting will take place on the 18th instant.
1863: BJP Feb. 2, vol. X, #183, p. 60:
Notes of the Month.
The past month has been a more than ordinarily dull and eventless one, though the weather has been unseasonably mild, chequered with many bright and sunny days.
The Photographic Society’s Exhibition in Suffolk Street has, up to the present time, not been well attended.—The Photographic Society of Scotland has fixed the 1st of March as the latest date at which they can receive photographs in competition for their annual silver medals. The collection will afterwards be exhibited to the public for a short time only.[--It is in contemplation to hold a Midland Counties Photographic and Fine-Art Exhibition at Nottingham in the months of February, March, April, and May, under the patronage of the principal families of note in the district and the protection of a joint-stock company. It is also proposed to award fifteen prizes for superior excellence in various branches, but the particulars are not yet decided on. The following is a list of articles that may be exhibited for competition or otherwise:--Plain and coloured photographic portraits (heads more than one inch in diameter; plain and coloured photographic portraits (heads less than one inch in diameter); photographic landscapes; photographs of animals; architectural photographs; photographic reproductions; portrait paintings; landscape paintings; crayon portraits; animal paintings; plain glass positives; coloured glass positives; and artistic arrangements of furniture and background.
A combined and organized effort is being made by the principal photographers in the capital to put down the sale of pirated copies of their works. It may be hoped that under the system pursued this class of photographic productions will soon disappear.
The “carte” will probably still remain the most popular style of portraiture in the coming season, which the marriage of H.R.H. the Prince of Wales, and the festivities attendant upon it, will doubtless make a busy one. It may be doubted whether the carte will not always be a permanent favourite. By its means every one is able to possess a gallery of portraits of all the contemporary celebrities of the age; and, not withstanding all the shortcomings of photographic art, what it can do so far outweighs all that it can not do (so much dwelt upon by hostile critics) that it is far from being a despicable one.
The London Society of Wood Carvers has published an appeal for contributions of drawings, casts, and photographs in aid of their library and museum of reference, urging the vast importance of such things in promoting the knowledge and advancement of art-decoration.
Photographs from paintings forming the Victoria Cross Gallery are about to be published, we believe, by Messrs. Negretti and Zambra, of Hatton Garden.—A series of thirty photographs of the Middle and Inner Temple are announced by Mr. Jones of Oxford Street.—It has often struck us that photographs from drawings should be largely in demand for book illustrations, giving as they undoubtedly do, the most perfect copies of every touch and line of the artist’s pencil. The idea is being practically carried out.
Under the title of “The Modern Priests and Temples of the Sun,” we find a writer in Chamber’s Journal describing photographers and their studios. The poor scribe seems to have been hardly used by the devotees of the new art, if we may judge by the general tone of his article, which is of the drearily-funny and dilutedly-sarcastic order. He can’t gets his photographs home; he can’t five a good expression to the lens; he can’t see any difference between a cheap and dear photograph, beyond that of their respective prices; he can’t move from a house which stands next to that of a fashionable photographer, although the fumes of the collodion are dreadfully annoying, not to say unhealthy to him and his family, if indeed this scribe be not a bilious old bachelor without incumbrance; and last, though not least, it will be evident to photographers that he can’t know anything about photography, although he is so gratuitously funny at the expense of the art’s practitioners and their various studios. Photography seems to have become a target for feeble witticisms and pointless sarcasm to no small extent of late.
Photography, we find, has been found a useful moral agent in the furtherance of missionary enterprise. A very estimable and energetic Roman Catholic missionary, in Vancouver’s Island, has made photography an important agent in working out his reforms in the characters of the Indians. Their goodness obtains for them their photograph; but, should they not preserve their character for this quality, they are denied the privilege of being photographed. As the natives are very anxious to secure their portraits, and very proud of them when executed, such a reward is most anxiously sought, by abstinence from lum (rum), by honesty, and by refraining from the more violent crimes. S.T.
1863: BJP Feb. 2, vol. X, #183, p. 61:
Waifs and Strays. [selection]
“Our Satellite.”—Relative to the pertinent question put in the Athenæum, as to the date when Dr. D’Orsan took his negative of the moon, the following has appeared in our contemporary since our last:--“Mr. A. W. Bennett, the publisher of Our Satellite, writes in answer to Messrs. Smith, Beck & Beck:--
‘January 12, 1863.
‘The letter from Smith, Beck & Beck, in your impression of the 10th, seems very fairly to raise the question at issue between Mr. Warren De la Rue and Dr. Le Vengeur D’Orsan, as to the relative priority of their lunar photographs, and their consequent value in a scientific point of view. Mr. De la Rue’s publishers appear to base their conclusion as to the copying of his photographs by Dr. D’Orsan on the existence of certain flaws, not only in Mr. De la Rue’s negatives, but also in both of Dr. D’Orsan’s published photographs, presented by him to the scientific world as original representations of different periods of lunation. It is evident that photographs taken from a body like the moon, which presents, at periodically recurring intervals, not only precisely the same appearance as to lunation, but also, at longer intervals, of libration also, if taken by independent observers, may, and under certain circumstances must, bear a striking resemblance to each other, such as photographs taken from but few other natural bodies would admit of. To distinguish between minute flaws in the negative, and hitherto undiscovered “flaws,” so to speak, on the surface of the moon, would require a most accurate and critical series of observations. But Messrs.; Smith, Beck & Beck will themselves acknowledge that nay such apparent evidence of copying would fall to the ground if it can be shown that Dr. D’Orsan’s photographs were taken prior to February, 1858, the date of Mr. De la Rue’s. Now this I am authorized by Dr. D’Orsan to state is the case; he is prepared on his part to reciprocate their offer, and to show to any scientific gentleman really anxious to investigate the subject both his own original negatives and the exact date of their production. It is on this originality that Dr. D’Orsan rests his sole claim to any merit as a worked in seleno-photography, and on this ground alone that the patronage of the scientific world is solicited to Our Satellite. On the question raised by you as to any right Dr. D’Orsan might claim to “share the honour conferred by the Royal astronomical Society on Mr. De la Rue,” he is not anxious himself to assert any such claim, but rather leave it to the unbiased judgment of the scientific world. To show how little idea either author or publisher has had of setting up rival claims to those of Mr. De la Rue, I may mention, that before the publication of No. 1 of Our Satellite in August last, the photographs included in it were shown to Mr. Joseph Beck; they were also exhibited at the recent meeting of the British Association for the Advancement of Science, held at Cambridge; and it was not till after the publication of the first part that I received any hint of the suspicions as to the claim of the work to originality which are conveyed in Smith, Beck & Beck’s letter, and which I am most anxious should be satisfactorily disposed of.—Yours, &c., ‘Alfred W. Bennett.”
--The main fact to be noted in this communication is, that Dr. D’Orsan has not yet given the dates of his lunar observations. The question of priority, therefore, remains in doubt.”
1863: BJP Feb. 2, vol. X, #183, p.67:
Application of Photography in Medicine & Surgery.
To the Editor.
Sir,--Will you permit me, through your columns, to proffer a request to photographers, both professional and amateur, which needs but a very few words of explanation in order to ensure, I trust, a ready compliance from all who have it in their power to assist. The records preserved by medical practitioners of their cases, and of the success of treatment or of operations, are of immense value to the community;’ for the experience thus stored up supplies the materials from which intelligence sifts out the knowledge that saves life. But for such exactly-kept records, medicine and surgery would no more have advanced than would any other science, photography included, supposing each man had kept to himself all that his own work taught him. And the great science which teaches how life may be saved or disease averted is as it is only because it represents the accumulated experience of many generations of workers, “still achieving,” applying what they know, yet still garnering with laborious exactness in order that others may yet know more. And so it follows that photography has been of great service in medicine and surgery, as affording a ready and cheap means of recording the appearances presented under conditions of disease, the results of operations, the effects of deformity, and many other things which may hereafter help the attainment of that high purpose, the relief of suffering humanity.
It has been recently determined by the Council of the Royal Medical and Chirurgical Society to add to their extensive library a collection of photographs of subjects of professional interest, on the importance of which I need not further dwell. I believe that many photographers possess negatives which would greatly assist the objects with which this important collection is now being made; and I ask space in your columns to request that they will favour me with unmounted prints of such subjects to add to the numbers already contributed. These will be most convenient; but positives, stereographs, and enlargements of microscopical photographs will all be most acceptable, if referring to professional subjects.—I am, yours, &c.,
Henry G. Wright, M.D.
23, Somerset Street, Portman Square, W., Jan. 12, 1863.
(The above communication arrived just as we were going to press with our last number. The cause for which Dr. Wright pleads commends itself so strongly, that any special advocacy on our part would be a work of supererogation.—Ed.)
1863: BJP Feb. 16, vol. X #184, p.69-70:
Award of Medals.—Our readers are most of them fully aware that we do not advocate the principle of presenting medals to exhibitors at our photographic exhibitions. We believe it to be inherently fallacious, and not conducive to progress; nay more, we have reason to know that some of the recipients of medals have, ere now, regarded the presentation of them rather in the light of “bitter pills” which they had to swallow with as good a grace as possible, knowing that the intention of the donors was to confer honour. It has been asserted by some that the prospect of a prize medal adds a stimulus to exhibitors, prompting them to send contributions; but we very much doubt the truth of this opinion, and we are satisfied that, if a stimulus be advisable, a better one would be found in the selection of one or more pictures, copies of which might be ordered from the producers for distribution amongst the members of the Society. In fact, we regard the presentation of medals in connection with words of art as a sheer waste of the funds of any photographic or other art society.
Having again recorded our protest against the principle, we now turn to a consideration of the methods adopted in selecting works for recognition; and here there is plenty of room for aggravating a vicious principle by an injudicious mode of applying it, or of nearly neutralizing its bad effects by tact and skill. Six medals have just been awarded by the Council of the Photographic Society (London), full particulars of which will be found in our report of the last general meeting of the Society and we are bound to add that the course pursued by the Council was the most judicious one possible (being already pledged to award medals), the delicate task of selection having been entrusted to two gentlemen well fitted to perform that function, and altogether unobjectionable, viz., Mr. Joseph Durham and Mr. Roger Fenton—the former a sculptor of deservedly high reputation, the latter too well known amongst photographers to need any introduction. Lastly, the selection of works—the producers of which are to be honoured—has been made, as perfectly as the somewhat difficult circumstances would allow, as follows:--
For the best portrait or portraits …. M. Claudet,
“ “ landscape or landscapes… Mr. Francis Bedford,
“ “ instantaneous picture or pictures … Lt.-Col. Stuart Wortley,
“ “ contribution by an amateur … Lady Hawarden,
“ “ composition picture from life … Mr. H. P. Robinson,
“ “ reproduction … Mr. Thurston Thompson.
It will be at once perceived that the preceding have all been indicated by us as pre-eminent in our first notice of the Exhibition in our number of the 15th January; therefore we are not likely to quarrel with the selections. But we are of opinion that the original programme was faulty in some respects; for instance, in drawing a distinction between professionals and amateurs, and to a slight extent with reference to “instantaneous”: pictures. For example, an amateur might have produced the best landscape, which might also have been the best instantaneous picture; hence, if the programme were strictly followed, he would have been entitled to three medals for it. In the case before us, are we intended to assume that Lady Hawarden is considered to be a better amateur photographer than Lieut.-Col. Stuart Wortley? We do not dispute this decision, if such it be; but we should like to know whether this was the intention of the judges. Lady Hawarden’s studies are quite as admirable in their was as Col. Wortley’s of their kind.
Again, with regard to the landscapes: so many are excellent that one cannot help regretting there were not half-a-dozen more medals for distribution; but of this we are assured that no one will question the propriety of one having been conferred upon Mr. Bedford, which productions are always so perfect in execution as well as tasteful in selection.
By the way, if Lady Hawarden’s “studies” had been presented as “portraits,” we have some doubt whether she would not have been entitled to the medal for that branch of the art.
In the preceding remarks we have not for a moment contemplated taking the slightest exception to the selection of the judges, but have been merely illustrating some of the difficulties with which they had, or might have had, to grapple.
1863: BJP Feb. 16, vol. X #184, p. 70:
Caution.—In our last issue, under the head of “Notes of the Month,” reference was made to a contemplated Exhibition at Nottingham. We have since received a communication from one of the projectors, complaining of some damaging remarks in the pages of our contemporary, the Photographic News, and seeking our aid to neutralise them. This, of course, led us to make inquiries into the bona fides of the projectors; and, from information we have obtained from most reliable sources, we have no hesitation in urgently warning exhibitors against having anything whatever to do with the matter, which, though we declined the proposed honour (!) of being appointed a juror for awarding the prizes, was put before us in so plausible a manner that we inadvertently gave publicity to the intended scheme, which we certainly should not have done had we then possessed the knowledge since obtained.
1863: BJP Feb. 16, vol. X #184, p. 79:
Mr. S. Bourne.—Letters, dated from the Cape, have been recently received from Mr. S. Bourne, whose photographs, from Fothergill dry plates, are well known for their softness and beauty. This gentleman has forsaken banking and become a professional photographer, and is now on his way to India, under an engagement for two years; and we wish him both good health and all success. We hope, ere long, to present our readers with the first of a series of papers from him, on his “Experiences in the East.”
1863: BJP Feb. 16, vol. X #184, p. 79:
Meetings of Societies:
London Photographic Society.
The annual general meeting of this Society took place on Tuesday, th[e] 3rd instant, at King’s College. The Lord Chief Baron (Sir Frederick Pollock), President, occupied the chair.
The minutes of the previous meeting were read and confirmed.
The Viscountess Hawarden, Messrs. J. L. Wenser, A. Sylvester, and William Austen, were duly elected members of the Society.
The President explained that the business which would first occupy the attention of members was the election of officers for the ensuing year. He need scarcely say that the nomination list had been read at a previous meeting in December, and published in the Journal, and, since no notice had been received by the Secretary or Council expressing a desire to alter the list in any way, as was required by rule 7, they had then only (unless any member present wished to propose any other name) to confirm that list by the usual show of hands.
The list as published in our issue for December 15, 1862 (see Vol. IX., page 467), was then put to the meeting, and carried nem. con.
Mr. Portbury laid on the table some portrait said to be taken on porcelain, and also others said to be on ordinary opal glass. The resemblance between the two kinds was very striking.
The Secretary read the Annual Report, which exhibited the affairs of the Society in a much more favourable aspect than for some years back. The balance of income over expenditure was stated to be £32 18s. There had also been a large increase in the number of members. The Report was unanimously adopted by the meeting.
After the Report had been read,. The award of medals by the adjudicators to the successful competitors in the Photographic Exhibition for 1863 was read. (See list in leading article, page 69.)
The award was accompanied by the following letter from the adjudicators, which was read by Dr. Diamond:--
As to the four of the medals, we have had no hesitation in fixing upon the names of those best entitled to the honour of the award.
To being with the Amateurs’ Medal. There is a beautiful picture exhibited by the Early of Caithness; but it is simply a translation, though very faithful and artistic, of an accidental effect of nature. Greater merit is, we think, shown in the series of studies from nature exhibited by Lady Hawarden.
2. In the class of elaborate figure compositions, we can see nothing that can b e placed on a level with Robinson’s Bringing Home the May.
3. As for reproductions, Thurston Thompson is facile princes in this Exhibition.
4. Of instantaneous views, the series exhibited by Col. S. Wortley stand alone in their excellence.
So far it has been easy for us to assign the places of honour. In landscape subjects we had much more difficulty, and have not without much hesitation made up our minds as to the rightful claimant of the medal. Messrs. Bedford, Annan, Mudd, Vernon Heath, Dixon Piper, and White have each exhibited pictures of the greatest beauty. If the medal were to be the reward of the best single production, we might have found the duty of deciding even more difficult than it is. The medal, however, is to be given as the reward of the greatest general excellence. We find instances in the works of each of the gentlemen already named, either of happy choice of subject, or of skill in the composition of their picture, or of due attention to contrast of light and shade, and to gradation of distance and atmospheric perspective; but we think that we see in Mr. Bedford’s works the most complete union of all the qualities which must be united in a good photographic pictures.
Taking the same principle of general excellence as our guide in examining the merit of the portraits in the Exhibition, we consider that M. Claudet is entitled to the first place; but we must add that, in delicacy of treatment, nothing can be finer than Mr. [T.R.?] Williams’s vignetted portraits.
The carte-de-visite portraits of M. Joubert are unsurpassed, we think, by any of that class of pictures. We were also much pleased with the portrait of Thomas Carlisle, by Jeffrey, and with one of the large portraits exhibited by Mr. Voigtlander.
R. Fenton
J. Durham
1863: BJP Feb. 16, vol. X #184, p.81
South London Photographic Society.
An ordinary meeting of this Society took place at the City of London College, Leadenhall Street, on Thursday, the 12th instant, at eight o’clock. Mr. T.S. Davis, Vice-President, occupied the chair.
The minutes of the previous meeting were read and confirmed.
The following gentlemen were proposed and duly elected members of the Society:--Messrs. Charles Smartt, T.R. Williams, J.H. Dallmeyer, T.R. Mills, Henry Squire, and C.E. Elliott.
The Chairman directed attention to a liberal give made by Messrs. Horne and Thornthwaite of some thirty samples of bromo-iodised collodion, which were placed on the table for the use of all or any of the members who chose to accept a bottle.
[portion omitted]
Some instantaneous views of Sutton Pool, and other scenes in the neighbourhood of Plymouth, by Mr. Sydney Smyth, elicited much admiration, the cloud effects being remarkably good.
[portion omitted]
The Chairman then called on Mr. Rejlander to read his paper. That gentleman, however, suffering somewhat from debility, availed himself of Mr. Simpson’s kindly-proferred services for that duty.
The paper was entitled An Apology for Art-Photography (See page 76).
At the conclusion of the paper Mr. Rejlander handed round the pictures of the Donkey’s Head alluded to in his paper, which were examined with much interest.
[portion omitted]
In the course of the somewhat desultory discussion which acoompanied (sic) the examination of these pictures, Mr. Rejlander stated that another advantage accruing from the prosecution of art-photography was that painters were thereby put in possession of studies from nature which would be found to act as important aids in the execution of their works, enabling them to seize a suitable expression at the proper moment, and accomplish their plans in a much shorter time.
In support of this opinion a Visitor stated that he was informed that Burford’s Panorama of Rome had been painted by Mr. Selous solely from photographs taken by Mr. Burford. Here, then, was an instance of Mr. Rejlander’s idea being practically carried out,--the painter not having visited the scenes he had depicted; and if the art were applicable to such subjects, why might it not be applied to the use of painters of the human figure?
[portion omitted]
1863: BJP Feb. 16, vol. X #184, p.84:
Photographic Society of Philadelphia.
The second stated meeting of this Society was held at their rooms in Walnut Street, and was largely attended. The President, Mr. Constandt Guillon, who had just returned from Cuba, presided.
Much time was consumed in the finishing touches to the constitution and by-laws, in electing new members, and in hearing the report of the committees on furnishing the rooms and on photographic publications.
[portion omitted]
During the evening Professor Emerson passed some of Mr. Breese’s fine glass stereographs round the room for examination, and presented the Society with one of his improved stereoscopes. Mr. La Feete explained his Jaminiscope, and illustrated its many changes, much to the delight of the members.
1863: BJP Feb. 16, vol. X #184, p.86:
Waifs and Strays.
THE INTERNATIONAL EXHIBITION AT CONSTANTINOPLE will be opened on the 20th of this month.
CRYSTAL PALACE PICTURE GALLERY.—The sales here during the last year amounted to about £4,000.
PHOTO-SCULPTURE.—The invention of M. Willême, familiar as it has so long been to our readers, has only just gone the round of the British and Continental papers as the latest wonder of photography.
THE REVUE DES SCIENCES ET DE INDUSTRIE.—An interesting chapter in this recently-published work (by Messrs. Grandeau and Langel) is devoted to astronomical photography in the various observatories of different countries.
PHOTOGRAPHY AT BRUSSELS.—The works of Henry Leys are now, for the first time, being photographed and published at Brussels. Three have already appeared, viz., Erasmus before Charles V.—Feasting of Franz Floris by the Saint Luke’s Guild of Painter-- and Catholic Women in Prayer.
NEWS FOR ASTRONOMICAL PHOTOGRAPHERS.—The Athenæum announced the proposed formation of a company, having for its object the construction of a gigantic reflecting telescope, larger even than the six feet reflector, so celebrated as Lord Rosse’s. By this, new and wonderful planetary sights are expected to be discovered.
EXHIBITION OF LANTERN VIEWS.—Mr. Highley’s exhibition at the Society of Arts, illustrating his paper On Photography an d the Magic Lantern, Applied to Education, was so well received, that he has made arrangements for bringing the same before the general public this week, at the Burlington Gallery, 191, Piccadilly. We have no doubt that his Exhibition will prove highly popular, and can safely say that it will be worthy of a visit. It will be seen, by reference to an advertisement in another column, that the Exhibition is open every evening at eight o’clock.
1863: BJP Feb. 16, vol. X #184, p. 87-88:
Lunar Photographs.* Cranford Observatory, Jan. 29, 1863
(*From the Athenæum)
On my return from Italy, where I had been travelling for about three months, I read the correspondence in your columns in reference to Dr. D’Orsan having pirated one of my lunar photographs.
In Dr. D’Orsan’s work no information is given as to the original source of his enlarged photographs, either as to their dates, the locality where they were taken, or the instruments used in their production; and to the question so often put, “When did Dr. D’Orsan take his negatives?” the only answer is, that Mr. Bennett says that he is authorized to state that Dr. D’Orsan’s photographs were taken prior to February, 1858.
At the time of the first announcement of Dr. D’Orsan’s intended work, in 1862, any gentleman working assiduously with proper instruments, and with the aid of the published accounts of the methods used by myself and others, might have succeeded in producing photographs of the moon. It is remarkable that Dr. D’Orsan, having, as he alleges, succeeded, prior to February, 1858, in obtaining photographs equal to those he has issued, should have refrained from making known his success, while notices of the progress of astronomical photography in the hands of other labourers were frequently appearing. For example, in the Athenæum, Feb. 6, 1858, an account is given of my photographs having been enlarged by means of the electric lamp to six feet in diameter, in illustration of a lecture by Mr. Grove at the Royal Institution. Moreover, my photographs have been repeatedly exhibited at public institutions and at the meetings of the British Association; and in the Report of the latter body for the year 1859, my methods of working were published in minute detail. Since September, 1857, enlarged positive copies of my lunar and planetary photographs have been freely distributed by me among men of science in England and abroad; and in a few instances some fine negatives have been presented to those specially interested in the subject. My Observatory has always been accessible to those seeking admittance, and my modes of procedure readily shown to any who cared to be instructed. Indeed, I have done all that lay in my power to promote the study of astronomical photography, because I have felt that it would prove of the greatest value to science.
A careful examination of Dr. D’Orsan’s two photographs has convinced me that they are both derived from one and the same negative taken by me at Cranford (lat. N. 51° 28’ 58”, long. W. Oh. 1m. 37-5 sec.) on the 22nd of February, 1858, at 9h. 5m. (G.M.T.) On that night I took several photographs, of which three have been preserved. The first was taken at 9h. 5m. in twenty-five seconds; the second, 9h. 25m. in thirty-one seconds; and the third at 9h. 50m. in forty seconds: which particulars are recorded on the negatives themselves with a diamond point. They were obtained by means of my reflecting equatorial of thirteen inches aperture and ten feet focal lenth [sic]. Upon reference to the Nautical Almnac, it will be seen that on that day at eight hours the moon’s motion in declination was only 6/100 of a second of arc in ten minutes, at nine hours only 2 7/100 seconds of arc, and at ten hours only 4 8/100 seconds of an arc in the same interval: whence it is evident that the motion of the moon in declination during the taking of any one of the photographs being quite inappreciable, the clock-movement of the telescope could be made to compensate absolutely the apparent motion of the moon in the heavens.
This circumstance, combined with the stillness of the air, enabled me to obtain on that occasion some of the finest negatives I have ever succeeded in producing. These negatives, with others, were lent to Messrs. Smith, Beck, and Beck, who published positive copies of them in a glass stereoscopic slide in April, 1858; so that Dr. D’Orsan could without difficulty have obtained positives well adapted for enlargement. The photographs issued by Dr. D’Orsan, so far as they extend, agree exactly with copies from my first negative, as regards the configuration of the lights and shadows of the several craters, and the elevations and depressions of the lunar surface; and they are identical in respect of the libration [sic].
Now, although it is quite possible, as Mr. Bennett states, that after certain intervals the same appearance of the lunar disc will be presented both as to libration and lunation, yet the coincidence of precisely the same conditions is by no means frequent; and there is a very great improbability that any two photographs taken at different times would exhibit the moon under an aspect identically the same.
Apart from these considerations, however, the identify of Dr. D’Orsan’s photographs with my own can be established in the following way:--No negative has yet been obtained absolutely free from defects; and hence, if several be taken of the same object, terrestrial or celestial, under precisely the same conditions, prints from them are always readily distinguishable by means of the defects peculiar to each negative. My three negatives, taken on the 22nd of February, 1858, have been subjected to an examination with the microscope, and certain minute holes in the collodion film of one of them have been thus identified with corresponding dark specks in Dr. D’Orsan’s prints.
Messrs. Smith, Beck, and Beck have already pointed out some of these coincidences, which are not to be explained away by the assumption of “hitherto undiscovered flaws” on the lunar surface, for in that case the two other negatives would likewise have recorded them. The impressions of the flaws, pointed out by Messrs. Smith, Beck, and Beck, not being very conspicuous objects, were undiscovered by Dr. D’Orsan, and therefore not removed in his prints; but other defects, to be seen in the original negative, were too conspicuous to be overlooked: and I will here adduce evidence to show that attempts, more or less successful, have been made to remove their impressions in Dr. D’Orsan’s prints.
In my original negative, taken at 9h. 5m., there is a group of holes situated between the craters Apianus and Playfair and Werner and Purbach, forming, so to speak, a constellation of holes, which are not to be found in the two other negatives.
A diagram of this region of the moon is given in the accompanying wood-engraving, which is copied from a lunar photograph thirty-eight inches in diameter: it represents as corresponding dark impressions the holes in the negative. [illus. in text] An examination of Dr. D’Orsan’s prints will prove that in both of them can be traced the existence of these defects, which have, however, been more or less completely erased. The speck on the western wall of the crater Werner is in many prints left untouched, which is also the case as regards the speck situated just on the summit of the western ridge of the crater Purbach; while, for the most part, the more conspicuous defects situated on a diagonal between Werner and Playfair are carefully corrected.
In some of Dr. D’Orsan’s prints, the defects have been corrected by stopping out the negative with opaque colour, the effect of which was to produce corresponding white spots which were then painted over: on washing one of these, the white spaces became apparent, as shown in the accompanying engraving, [illus. in text] which is copied from an enlargement of one of his prints. On Others the correction has been made by erasing, more or less perfectly, the dark impressions of the defects left by negatives which had not been stopped off; but on every print that has passed through my hands it was easy to detect the remains of the spots, corresponding to the defects in my negative.
Only a very small portion of my original photograph has yet been published by Dr. D’Orsan: should he venture to issue other parts of it there will be no difficulty in detecting them.
So far as Dr. D’Orsan has gone, I do not hesitate to say that he has merely published unauthorised copies of portions of lunar photographs taken by myself.
Warren De La Rue
February 3, 1863.
Since handing in my communication, I have received from Mr. Bennett the accompanying letter, which I shall feel obliged by your inserting in your columns.
Warren De La Rue
“ 5, Bishopgate-street Without, February 3, 1863.
“In my letter which appeared in the Athenæum of January 17th, I undertook, on the part of Dr. D’Orsan, that, at the request of any scientific gentleman interested in the controversy between yourself and Dr. D’Orsan, the exact dates at which his lunar photographs were taken should be disclosed, and the negatives of the photographs themselves produced, for comparison with your own. Since that time, repeated applications have been made to Dr. D’Orsan for the production of the dates and negatives in question, without, I regret to say, any result. I am thus forced to the conclusion, that it is not in Dr. D’Orsan’s power to produce that evidence which would at once overthrow the grave charges which have been advanced against the originality of his lunar observations, I feel bound, by the courteous manner in which Messrs. Smith, Beck, and Beck and yourself have conducted this controversy, to acquaint you at once with the conclusion at which I have arrived, as also with my determination, in which no alternative is left me, to discontinue further publication of ‘Our Satellite’ until, by the means above stated, the doubts which are thrown over the originality of the work are entirely removed.—Believe me to remain, yours faithfully,
“W. De la Rue, Esq.” “Alfred W. Bennett”
1863: BJP March 2, vol. X #185, p. 99-100:
Exhibition.
The Ninth Annual Exhibition of the Photographic Society (London). (Third Notice.)
Whenever we determine to go regularly through a photographic exhibition the Fates are against us, and we are sure to find afterwards that our examination has been more than usually irregular and discursive. We have just returned from such a visit, and having opened our catalogue at page 1 we soon lighted upon No. 10,--a print upon resinised paper, from an enlarged negative of a carte-de-visite portrait, by A. Harman, with a print from the original displayed in the corner for comparison. Much skill has been displayed by the operator in performing his task of enlargement, and he has executed it in a much better style than some others who have made similar attempts; but we prefer the original production, chiefly because we are in the habit of looking closely into photographs, and the amount of definition displayed in most enlarge specimens does not satisfy us, especially with reference to the rendering of the hair, face, and other delicate structures. In order, therefore, to place the specimen which we were examining under somewhat fairer conditions we stepped backwards several paces, and our eyes immediately encountered other works by the same artist—e.g. Nos. 61, 79, 84 (the last-named number being, in our opinion, the best)—and, certainly, when viewed at a moderate distance, the result was very satisfactory. We do not know what optical arrangement Mr. Harman adopts, but we are convinced that it is not the best that can be devised; and have no doubt that, with his manipulative skill, he only requires further perfection in the optical appliances to produce some very striking results.
From this survey we flew off at a tangent to the further room, to examine a number of enlarged specimens which we knew to be hung there, in order to compare them with Mr. Harman’s, and we must candidly admit that we were not contented with the definition displayed in any enlarged specimen in the whole Exhibition, without exception.
In the portrait-room some of the specimens are enlarged to a much larger scale than are those upon which we have been descanting; but, as a rule, the want of definition is there still more glaring. There are, however, two specimens, No. 557 and 558, by Mr. J. Stuart, of Glasgow, that have less of this defect than any of the other taken upon an equal scale of size, but even in these the hair of the head and whiskers is but little more definite than we are accustomed to see in a marble statue. We neither expect nor desire too much detail in these parts; but we do desire that it should be as definite as in a good crayon drawing, which is far from being the case.
While standing near to Mr. Stuart’s pictures, two familiar subjects attracted our attention, Nos. 567 and 574—admirable studies by O. G. Rejlander—the former being a lively little crossing-sweeper trotting along, with fingers touching his ragged fore-lock, and a pleading smile begging for a stray copper,-- a smile that the crustiest old “curmudgeon” breathing could not resist. The other, No. 574, is a study of the head and clasped hands of a nun. Both are vignetted and effectively printed; but why they have been hidden away amongst the portraits it would puzzle a conjuror to tell.
If ever we had any doubt about our objection to regarding coloured photographs as photographs, we should have had it dissipated on examining the frame just under the last mentioned: it contains three copies of one subject, by Mr. F. Fox (No. 575), Two Girls Making the Wreath. One copy is a plain photograph, another is slightly tinted, the third is a highly-finished water-colour drawing, and, as far as beauty goes, we allow that the latter is entitled to precedence; but had they not been exhibited side by side, we should never have discovered that the portraits were of the same individuals. The conclusion at which we arrive is, therefore, just as uncomplimentary to the artist in which ever of the two lights we regard it:--either he has thoroughly destroyed the likeness by his colouring, or as a photographer he has done his sitters great injustice. We can perceive no escape from one of the two horns of the dilemma.
We wonder whether any other visitor got as queer a catalogue as that which fell to our lot, all the numbers between 457 and 532 being missing; but to make up for them we had from 532 to 674 in duplicate! While puzzling over this evil we lighted upon the name of A. H. Watt, appended to No. 638—a coloured portrait; and the well-known initials caused us to seek out the picture, thinking it might possibly be one by our worthy contributor, A. H. Wall; and so we have little doubt that it is, the printer having most likely arranged the change of name without any ceremony, legal or otherwise. After some search we found the picture hung far up out of sight, and with the light falling on it so as to be reflected from its surface in a manner that prevents the possibility of pronouncing any judgment upon its merits.
We next began scanning some of the more striking card and other portraits, especially those by H. P. Robinson, Mayland, Williams, Joubert, and Kent and Hennah; and amongst the latter we were especially struck with two portraits of children, which, for excellence of pose, lighting, and general execution, we have never seen surpassed: that of the little boy is particularly attractive. IN this room we found also, much out of its place, an effective picture of Tintern Abbey (No. 598), by Mr. Lyndon Smith; and this set us off on a voyage of discovery to find some others which, by glancing down the catalogue, we found this gentleman had contributed. We do not think he has done himself justice, for the mounts are of coloured cardboard of a somber hue, and the frames of a dark-coloured wood, imparting to the whole a very gloomy and unattractive appearance, much to the detriment of the photographs; and this seems to be the more damaging from the pictures having been scattered all over the rooms. There being only one place, that we remember, where two of the works are hung together.
Mr. Lyndon Smith is not the only exhibitor who has suffered in a similar manner; but, though this scattering of the works of an exhibitor is always more or less detrimental to him, in frittering away the influence of his style, it is doubly so in such a case as that of Mr. Smith.
Mr. Stephen Thompson is one4 of the unhappy victims whose works have been scattered broadcast over the whole area of exhibiting space. We think there are about a doze4n and a-half different places where we encountered his pictures, which are worthy of a better fate. Amongst them we note particularly No. 66, Norman Porch, Lindisfarne; No. 156, Cloistered Tower, Magdalen College, Oxford; No. 176, Durham Cathedral; No. 177, Jedburgh Abbey; and No. 226, Interior of Lindisfarne Abbey.
Near the last-mentioned picture we noticed a photograph of a spot which we instantly recognised with pleasant recollections the Straits of Dovedale (No. 220), by J. Spode.
After again admiring Mr. Bedford’s Eastern views, we examined more particularly those executed by him for the City of London Art Union, with which we were most especially pleased. They are chiefly scenes in the South of Devon, and will be admired by all lovers of our soft English scenery. We alluded particularly to Nos. 193, [A Devonshire Lane, near Torquay] 195 [View at Cockington, near Torquay, South Devon], 199 [St. Catherine’s Cavern, Tenby] and 211 [View in the Vale of Neath]—the last-named work being very charming.
From Mr. Bedford’s productions we started off to examine those of Mr. H. White, with whose works we were also highly gratified. They are principally scenes in North Wales, and we have cast a special eye of affection upon No. 283, the Lledr Cottage, near Bettws-y-Coed; No. 296, the Lledr Bridge; and 297, Fass Nofyn.
Mr. W. Hanson, of Leeds, next engaged our attention. His works are unfortunately amongst the scattered ones, but they are well worth seeking out. We notice particularly No. 115, Repose: Near the Strid, Bolton Abbey; No. 137, On the Wharfe; No. 409, A Quiet Home; and No. 413, A “Bit” from Ravensgill.
Of Mr. Annan’s fine pictures we have before made mention. They, too, are distributed hither and thither; but they are brilliant enough to attract attention anywhere—a fact which reminds us of an opinion upon which we frequently have insisted before, viz., that for general landscape subjects there is nothing equal to the single combination, if well constructed. We learn that most of Mr. Annan’s pictures were taken by one of Mr. Grubb’s aplanatic lenses. The Waterfall at Inversnaid, Loch Lomond (No. 105), we much admire.
Mr. Vernon Heath—amongst whose works we now find ourselves—has fared well as regards concentration, and he well deserves it. He ahs surpassed himself on the present occasion, which is no slight commendation. WE recognize several subjects that we have before noticed when visiting Mr. Heath’s studio; but there are also many new ones, and of these we cannot forbear particular mention of No. 127,. A frame containing four exquisite views at The Grange, Hampshire, the seat of Lord Ashburton; and No. 128, two views,-- one of a cottage in the same locality, and another in Perthshire. In the former there are, besides other picturesque beauties, fine atmospheric effects, including some well-executed clouds, which, if not really natural, deserve to be so—they are so admirably executed and appropriately introduced. We warmly congratulate this gentleman on his brilliant success. Just as we were leaving Mr. Heath’s pictures our eye casually fell upon one that we had not before noticed, by a gentleman with whose name we are not familiar, Mr. H. Castleman, but who has contributed a very excellent photograph (No. 151), Avenue in the Woods, Beech House, Hants. The play of light and shade case by the trees is very pleasing.
Here it occurred to us not only that it was getting late, but that our intended orderly and systematic examination, from No. 1 to No. 811, had not exactly been adhered to; and now also it occurs to us that we have written a great deal more than will suit the convenience of our space to publish, so we mush incontinently conclude for the present.
1863: BJP March 2, vol. X #185, p. 102-103:
Mr. Samuel Highley’s Scientific Enterainment.
Lectures are never heard of now-a-days. They have all been converted into entertainments; and we are not sorry for the change. Lectures!—ugh!—the very name begets a shudder. Can we forget the ominous frown with which our schoolmaster threatened to read us a lecture? Do we not remember the dry old lectures taken, like daily medicine, with a wry face, in the days of our college life? Or have we forgotten the “governor’s” angry lecture concerning sundry “goings on” thereof? Or last, not by any means least, when as men—and married men—we bade adieu to lectures, as we fondly hoped, for ever, can we forget how they startled us by re-appearing in the nights, under the guise of curtain-lectures? These were our thoughts when on the way to visit Mr. Highley’s “novel entertainment,” which our programme informed us was to illustrate all the ‘ogicals, ‘omicals, ‘aphicals, ‘ologies, and ‘graphies, to say nothing of physics, architecture, and painting, and which we most devoutly hoped might not after all turn out to be simply an interminable scientific lecture, full of hard Latin names and dry uninteresting details.
Reaching the snug and comfortable little hall of the Burlington Gallery (191, Piccadilly) we soon found our hopes realised by speedily becoming deeply interested in, and greatly amused by, a very fine collection of photographs, which were projected upon a large screen by means of an achromatic oxyhydrogen apparatus, in a manner we have never seen equaled We were never more thoroughly impressed with the great and increasing value of our art than we were during the pleasant hour or two we passed with Mr. Highley. In every branch of art and science its great educational value was strikingly illustrated by the exhibition of specimens full of beauty and interest, produced b y some of the best artists of the day. Such of the specimens as were illustrative of geology, topography, and biography, and had been photographed direct from nature, stood strongly out in contrast with such other specimens as had been taken from flat surfaces. While the latter—although good in themselves—were comparatively feeble in effect, the former sprung forth from the screen full of the vitality of living nature:--depth, space, roundness and relief, air, light, and motion—all seemed to exist in actual reality as they burst upon us, calling forth murmuring expressions of astonishment and delight from every member of the audience. Some one or two of the photographs, produced by Mr. England, however, were somewhat injured by the coarse crapy texture of the film on which the pictures were taken, which in the magnified image tended to injure rather the force and vigour of the general effect. Astronomy was represented by a beautifully perfect image of the moon in full. Among the many fine geological subjects were some glorious views of the Niagara Falls, and the Ice Cavern in the White Mountains, U.S., from the negatives of Mr. England. Groups of Japanese Fruit and Cocoa Palms, from the negatives of Messrs. Negretti and Zambra, were magnificent specimens; and the solitary ethnological specimen was peculiarly interesting. A portrait of the Princess Alexandra, enlarged to about four times the size of life, beamed down upon us with an effect far more complimentary to the fair original than that of any small ordinary photograph we have yet seen. The fine eyes beamed with an aspect of quiet, sunny cheerfulness and bright intelligence, and the corners of the lips seemed to quiver with the restrained force of some merry thought. For those qualities which make a portrait valuable and attractive, we are sure our future Queen will have no portrait to surpass this gigantic image. It has haunted our memory ever since we say it. Kaulbach’s famous illustrations to Gœthe’s Reynard the Fox gained vastly by the enlargement, and were agreeably described by Mr. Highley. The sly humour and satire embodied in these far-famed plates created no little merriment; but the “cross hatching,” peculiar to wood engraving, in the Bible Pictures of Schnorr became rather too prominent when thus increased. This is a defect, inherent in this class of subject, which, we are informed, may be modified by the introduction of colour.
The second part of the entertainment, called “The Science of the Shore and Wonders of the Deep,” although not so interesting to the non-scientific portions of the audience, was full of the fairy tales of science; and the illustrations awoke a sense of wondering awe in the mind, well calculated to lift our thoughts “through nature up to nature’s God.” The photograph of a flea awoke shuddering thoughts, which changed to a sense of grim content, when we were introduced to the flea’s parasite, although the latter avenger of blood was in himself anything but an agreeable looking personage. Still it is some satisfaction to know that—
“Those little fleas that do us tease,
Have other fleas to bite ‘em;
And these again, have other fleas,
And so ad infinitum.”
We wish Mr. Highley all the success he has done so much to deserve.
1863: BJP March 2, vol. X #185, p. 108:
Meeting of the Glasgow Photographic Association [excerpt]:
The Rev. Father Secchi, Director of the Roman Observatory, has just sent to the Academy of Sciences a communication which affords another proof of the important services that photography may render to science, by its application to astronomic observatories. This interesting letter contains a comparison between the pictures obtained at Rivabellosa, by Mr. Warren de la Rue, and those taken at the Desierto, during the eclipse of the 18th of July, 1860. The two astronomers were desirous to ascertain the difference existing between the two collections. The pictures taken at the Desierto were enlarged to the size of Mr. De la Rue’s; then, the two series being applied to each other, it was easy to ascertain the differences produced in the figures by the relatively different position of the moon in the two places where the observations had been made, as also the correctness of the parts resembling each other. I will not enter into the details given by Father Secchi. They show, however, that, thanks to photography, science is now enabled to thoroughly investigate fugitive phenomena, which could formerly be observed only in an uncertain and hypothetical manner.
1863: BJP March 2, vol. X #185, p. 110-111:
Correspondence:
Lunar Photographs.
To the Editor.
Sir,--I am directed by Dr. D’Orsan to request that you will do him the favour to insert the accompanying letter in your next publication. He hopes you will the more readily accede to his request because, apart from the interest attaching to the matter discussed, you have given circulation to the attacks of his assailants.—I am, yours, &c.,
Manor Lodge, Liscard, near Birkenhead, John Flanedy.
February, 1863.
To the Editor.
Sir,--Hitherto, for various important reasons, I have forborne to notice the numerous misstatement published in recent numbers of your periodical, relative to the photographs which illustrate my folio work entitled Our Satellite. I now give to those misstatements my most unqualified and emphatic contraction, and I am prepared to adduce unquestionable proof of the complete originality of my negatives, and to submit them to the severest scrutiny.
I have been accused of copying from certain photographs issued by Mr. Warren De la Rue. As this gentleman has thought fit to publish an unwarrantable attack upon my scientific and personal character, I shall act in the matter as advised by competent legal authority. Prior to the publication of the first of the twelve parts into which my work is to be divided, I arranged with my publisher (who had of course seen my negatives before he undertook so extensive and important a book) that the dates of the photographs accompanying the general remarks which formed the test of Part I. (the only one yet published) should be given in the text of Part II., when they are intended to be described in detail, and a slip to this effect was actually inserted, by Mr. Alfred W. Bennett, in the specimen number. We agreed upon this because the same date would otherwise have appeared upon several of the impressions, in consequence of these impressions being taken from sections of one of the original negatives.
Before and while being published my negatives were most minutely scrutinised by some of the greatest living astronomers, and I can adduce their high authority in confirmation of my statement that the stage of illumination given by me is not identical with that published by Mr. Warren De la Rue in any case. The words of one illustrious savant art—“Applying almost exactly to the same stage of illumination, and I think that upon the whole yours is the better.”
I am charged with copying from Mr. Warren De la Rue. Now, sir, the impressions from my negatives are pronounced by the above and other unimpeachable authorities in astronomical science to be, not only different from, but absolutely better and clearer than, those taken by Mr. Warren De la Rue from his negatives. How then is it possible that my impressions—taken from negatives asserted by Mr. De la Rue to have been taken from positives taken off his original negatives—could be better than, and different from, Mr. De la Rue’s own impressions taken from his own original negatives y Smith, Beck, and Beck? Had our negatives been compared, as was proposed by me long ago, the fallacy of the issue raised about certain imaginary spots would have been at once exploded, and much ingenuity in assertion and implication expended to better purpose.
The dates at which my various negatives were taken have for many years been given to my scientific friends, as each has been procured. I have even given them to strangers, who have applied in a proper and gentlemanly manner. To this many will testify. I shall publish these dates in their proper places in the text of my work for the benefit of the public; but I do not choose to be bullied into satisfying the mere curiosity of any one—not even of so erudite a gentleman as Mr. Alfred W. Bennet, my recalcitrant publisher.
With many apologies for trespassing upon your valuable space.—I am, yours, &c.,
A. Le Vengeur D’Orsan.
(We insert the preceding upon the principle of giving every one a fair hearing; but we cannot forbear pointing out to Dr. D’Orsan that, had he simply given the date when the negative was taken from which his published impressions were printed, he would have done more to settle the question at issue than could be accomplished by fifty such letters as the one above, which abounds in dogmatic assertion without one particle of proof. Moreover, the quotation from the anonymous “illustrious savant’s” words above given appears to our simple understanding flatly to contradict the preceding sentence. We do not find on looking over the correspondence an offer on the part of Dr. D’Orsan to compare the negatives, and the only hint of any consent to do so that we can find is in Mr. A. W. Bennett’s letter of 12th January, 1863, addressed to the Editor of the Athenæum (see British Journal of Photography, page 61, current volume); but this is not in the form of an offer, being confined to “any scientific gentlemen really anxious to investigate the subject,” and this without mention of either time or place for the examination. We therefore applied to Mr. De la Rue inquiring whether he had received such an offer, and the following is his reply:--
To the Editor.
Sir.—In reference to your inquiry, I beg to hand you a copy of the correspondence which has passed between myself and Mr. Bennett in relation to the subject named by you.”—I am, yours, &c., Warren De La Rue.
Feb. 24, 1863.
(COPY)
5, Bishopgate-street Without
16th February, 1863.
Dear Sir,--On Saturday evening I received from Dr. D’Orsan a telegram to the effect that the day fixed for the interview and examination might be the 26th, 27th, or 28th instant, at my establishment—some English and foreign friends of Dr. D’Orsan’s to be present. Will you kindly fix one of those days which will suit you to enter on the comparison and examination? Saturday morning, the 28th, would suit me the best; but I could arrange for either that is most convenient to yourself.
I would ask to be present on my own account only Mr. W. R. Birt and another gentleman practically acquainted with photography.
Yours truly,
(signed) Alfred W. Bennett.
W. De La Rue, Esq.
(COPY)
110, Bunhill Row, Feb. 16th, 1863.
Dear Sir,--Before I consent to be present at any comparison of Dr. D’Orsan’s lunar photographs with my negatives, Dr. D’Orsan must be so good as to state what instrument he used in taking his original negatives, the locality where they were taken, and the date when they were taken.
I am, yours very truly,
(Signed) Warren De La Rue.
Alfred W. Bennett, Esq.
In conclusion, we may state that an opportunity of examining Mr. De la Rue’s negatives has been afforded to us; but we forbear the expression of any opinion thereon at present, in order to afford Dr. D’Orsan an opportunity of submitting his negatives to us, should he desire to do so.—Ed.
1863: BJP March 16, vol. X #186, p. xiii:
Ad: Triumphal Arch, London Bridge.
Cartes de Visite and stereoscopic slides.—The “Garotters.” (Copyright secured.) Photographed by T. O. Rolph, 40, Gracechurch Street, London, E.C.; and to be had Wholesale of F.W. Pellatt, 32, King William Street, London, E.C., Photographic Paper Importer and Albumenizer. Liberal Discount to the Trade.
1863: BJP March 16, vol. X #186, p.116:
“The Garotters.”—Mr. F.W. Pellatt, of King William-street, London Bridge, has published a card-picture under this designation, intended to pictorially illustrate a supposed “night attack” upon one of Her Majesty’s liege subjects by two of the daring scoundrels who, during the past winter, infested the suburban districts of London, and who in a few instances even carried on their nefarious practices in the most public thoroughfares of the metropolis. Mr. Pellatt’s advertisement relative to this picture will be found in page xiii. Of our advertising columns.
1863: BJP March 16, vol. X, #186, p. 123-124:
Bits of Chat.
The Royal Marriage from a Photographic Point of View.
There was nothing particularly threatening or peculiarly promising to the curious eyes of us photographers in the aspect of the important seventh of this cheerful March, as it stole so quietly out from the East. Knowing how many anxious brethren of the camera had awakened early from dreams of failure or success, and made their way to various chosen points for photographing the royal procession, we shook our heads doubtfully at the mists which shrouded our London sky, until--bravo!—the leaden-hued veils were one by one drawn slowly upwards and away, and we knew that great and glorious old sol would not entirely desert his modern priests and votaries upon this most auspicious occasion.
Now-a-days grand historical events are chronicled by Truth’s own hand. Henceforth History may hope to lead a purer, nobler, and truly more useful life, freed from many of those defects which, having in the course of time clustered so thickly about her, decreased her influence, weakened her power, and marred most of the great lessons it is her lofty mission to convey. Flatterers and time-servers, unreasoning enthusiasts and prejudiced partisans, may vainly attempt to deceive and distort the great facts and influences of our own times. Though backed by all the mighty aids which poets, painters, orators, and sculptors can afford, we have now a means whereby so-termed facts will be tested ere they find a permanent place among the pregnant realities of history. When posterity shall read of that grandly harmonious welcome with which as one man we English of 1863 arose to receive our future Queen, they cannot class such an account with the doubtful records of partial or self-deceived historians; for they will have witnesses which cannot lie in a crowd of honest photographs. The thousands upon thousands of faces animated with but one expression of pleasure and gratification--the sky-tossed caps, the waving handkerchiefs, and every other demonstration of affectionate loyalty shall speak to coming generations as they spoke to us. The banners, flags, and flowers, and the costly magnificence of all the various preparations—the words of solemn blessing or hearty greeting on the house-fronts—the future King and Queen placidly and fearlessly confident, though alone, in the midst of the surging and heaving mob, with rude, strong, dirty hands clutching the very sides of their carriage—the generous army of volunteer soldiers with their mutely eloquent salute—these and such incidents, all doubtless photographed, will be witnesses which none can hereafter dream of disputing or denying, whatever changes may arise, or whatever events may conspire for their production.
Doubtless those of our number who prepared their cameras for that day’s work had some such feelings regarding the importance of their labours, and were more than usually anxious lest they should not be crowned with success. To them, the time of year must have been a source of regret, and the weather-glass an oracle of destiny. Their hopes ranged from Gravesend to the city’ for, at this time of the year, when the famous firm of Day & Sun have taken to the early-closing movement, there was no chance of success for operations carried on after the procession had passed the city, although some of the nil-desperandum school made futile efforts in the Strand.
At Gravesend report said Mr. Bedford, Mr. Downes, Mr. Harman, and some other photographers were stationed; and from a brewer’s wharf Mr. Blanchard—with whose charming instantaneous pictures we are so familiar—caught pictures full of interest and value, showing the huge sea-castles, whose terrible iron mouths have just roared out their mighty welcome; the clustering crowd of gaily-decked and dangerously-crowded vessels, smart yachts, over-laden boats, and shaky, old, wheezy tubs of river steamers resuscitated for the occasion; the manned yards of the war ships; the densely-crowded shore; and all the bustling activity and joyousness which characterised the aspect of old Father Thames on this eventful morning. These were taken with Squire’s well-known Shepherd’s lenses.
In the Dover-road two cameras, at least, were visible; and, from the air of satisfaction and delight with which the presiding deity of one of these instruments was exhibiting a plate exposed just as the royal carriage passed to those about him, we may surmise that at least one of these genuine historical pictures was more or less a success.
On the Surrey side of London Bridge another camera was observed; and on the other side, in King William-street, Mr. Sydney Smyth essayed to secure the noisy crowd, moving its myriad heads like corn before the wind as its currents and counter currents swayed this way and that, and its component parts cried lustily for help, or shouted in reckless jollity torrents of coarse chaff and rudely witty observations. One picture of this crowd, if not more, was secured, and photography will, in one sense at least, not often produce its rival. This picture, we believe, was taken just after the short but heavy shower had fallen which drenched, but doubtless also refreshed, the hot and perspiring members of that struggling mob; and the steam, palpably visible as it rose above their densely-packed heads, must have given great indistinctness to the picture. Although the Princess and the prince were detained by the crowd just eight minutes before the very house whence Mr. Smyth was operating, owing to some one or more of the numerous ills to which all photographic flesh is heir, his efforts secured no picture of the royal pair.
Amidst the roaring crowd before the Mansion House, with the blended cries and shrieks of women, and the calls and shouts of men ringing in his ears, * (*The worst possible management created the most terrible danger and confusion at this point) Mr. England was said to be at work. A camera and a photographer closely resembling that gentleman were certainly visible there as the procession arrived. The light was not favourable at the time, however. In Cheapside another, and doubtless a final, attempt was made, so far as regards the probability of success.
On the day before, and on the Monday following, pictures were obtained of the triumphal arches and street decorations; and we have seen a few of the negatives.
A goodly array of artists, photographers, and the friends of both, were assembled at Mr. Squire’s photographic warehouse in King William-street, City, in a huge first-floor bower of crimson cloth, laurel leaves, and white and red roses, prominently labeled in large white letters, “Art and Photography”—where matters photographic, an excellent cold collation, and a liberal supply of wine, partially served out in a few dozens of developing measure, were pleasantly discussed; and an excellent view was obtained of the happy pair, and the half-old, half-new, half-grand, and half-comical, halved, and again halved, and otherwise divided and crowd-confused, civic procession. Was it comic to see portly unfortunate common council men, in their purple robes and personal grandeur, remorselessly compelled by an energetic common policeman to descend from their gone-astray carriage, and be hustled and projected about in the vulgar crowd in a manner shockingly detrimental to that dignity of which until then they had been so proudly conscious? Ought not the sight to have been quite painful to a well-regulated mind? Yet I blush to say that there were among the guests of Mr. Squire photographers who laughed—absolutely laughed—at this mournful sight.
But photography was no less influential on the night of the 10th than it had been active on the day of the 7th of March. Photographic transparencies, painted from photographs—the worst of which was at Poulton’s, the photographic publishers, in the Strand, and the best of which was at Barnard’s photographic establishment, in Regent-street—were displayed in almost every street. Most of the principal portrait establishments were more or less grandly illuminated; and at Carpenter and Westley’s, in Regent-street, there was a magnificent display of beautiful photographs thrown upon a huge screen projecting from the front of the house by a magic-lantern. Here the constantly-increasing crowd grew gradually motionless—every wedged-in individual, who could spare time from the illuminated pictures before him to think about anything beside, wondering at the compressibility of the human form, and all bursting into a hearty English cheer, heard from no small distance around, as, one after the other, the members of the Royal Family and the residences of her Gracious Majesty appeared upon the screen.
In conclusion, let us hope that those whom we have thus enthusiastically and loyally congratulated may have all the happiness the assembled thousands wishes them, and that the affectionate feelings of regard with which their union has been celebrated may strengthen that other union by which kings and their subjects secure happiness and prosperity, both for themselves and for each other. “Ich dien” is a good motto for both Prince and People. A.H.W.
1863: BJP March 16, vol. X, #186, p. 129:
Obituary.—M. Andre Orange, a photographer well known in Edinburgh circles, died in that city on the 18th ult., after a lengthened illness, aged 51 years. Originally a watchmaker, Mr. Orange had, almost since the introduction of photography, devote4d himself exclusively to the latter art.—Mr. William Cuthbertson, superintendent of Dean Cemetery, died on the 9th instant, ages 56 years. Mr. Cuthbertson was a member of the Edinburgh Photographic Society.
1863: BJP March 16, vol. X, #186, p. 129:
Waits and Strays.
[portions omitted]
The Photographer in France.—The following paragraph has appeared in several of the weekly and daily papers:--“The French Government has prohibited the publication of an admirable photographic portrait of Garibaldi, executed by Signor Fagnani, who has long resided in Paris, and who devotes his time exclusively to his pencil.”
1863: BJP March 16, vol. X, #186, p. 131:
Correspondence. [portions omitted]
Lunar Photographs.
To the Editor.
Sir,--In reference to Dr. D’Orsan’s letter, inserted in your impression of the 2nd instant, it is hardly necessary to say that the general statements it embodies are no answer to the charge which has been brought against him, and that until he chooses to state publicly the dates of his lunar photographs, the locality where they were obtained, and the instruments used in their production, he will have done nothing towards clearing himself from the imputation under which he at present rests. As regards his assertion that a slip was inserted in Part I. of his work, notifying that the dates of the photographs accompanying that number would be given in part II., a simple inspection of the slip in question (a copy of which I enclose) will show that this is not the fact. I may add, on the authority of Mr. Bennett, that a gentleman of high scientific attainments, who has applied more than once for these dates for purposes quite unconnected with the genuineness of the work, has not been favoured with a reply.—I am, yours, &c., Warren De la Rue
110, Bunhill Row, March 4th, 1863.
(COPY OF THE SLIP.)
“NOTE.—Descriptions, accompanied with photographed maps in outline, and traced with the parallels of longitude and latitude, explanatory of the photographs (Tycho and the surrounding districts) given here, shall follow in the next number, and at the same time additional photographs shall appear.”
1863: BJP March 16, vol. X, #186, p. 131-132:
Photography in India, &c.,
To the Editor.
Sir,--My former application received such kind and favourable notice in your Journal of 1st August last, that I am induced again to ask your assistance. I have lately turned my attention to transparencies, seeing what beautiful results are obtained by professionals at home.
[portion omitted]
You advise me to join the Amateur Photographic Association. Can you inform me what are its conditions and the system of exchange and how worked? (but this is perhaps asking too much). To render my picture of any interest to the good people at home it would be necessary, no doubt, to give a sort of epitome of what each represents, it would scarcely suffice to scratch on the margin of the negative The Temples of Parbuttee, Image of Bhyroba, &c.: they must be informed what description of personage rejoices in the euphonious appellation of Byhroba, and of what class of people are his worshippers.
No.1 is a picture of the Temples of Parbuttee—a Hindoo goddess, wife of Mha leo; and for the support and preservation of these temples our Christian Government pays something like 18,000 rupees; (£1,800), for the encouragement of idolatry and vice. [portion omitted] This picture is half-spoiled by the figures in it,--the native looking as if hanging were to be his fate, and the lad as if he were a candidate for enlistment, and, anxious to look his best, had assumed the real position of a soldier at “attention.”
No. 2 is the Entrance to a Hindoo Temple. What can you say for my morning clouds in No. 3? I have some better pictures than these taken within the last few days, but have not had leisure to print them off. My duties do not admit of much time for printing.
[portion omitted]
…so I will close with thanks for the same, at least.—I am, yours, &c.,
Poona, 12th February, 1863 Bombay Amateur.
1863: BJP April 1, vol. X, #187, p. 143:
Stereographs.
Memento of the Royal Wedding.
Southampton: G.T.J. Wiseman.
Amongst the numerous attempts made to secure mementoes of the Royal Wedding—whether of ante or post nuptial ceremonies—the first that have reached us have been a few from Mr. Wiseman, of Southampton, who had made preparations for taking instantaneous views of the departure of the royal party en route for Osborne; but, unfortunately, it occurred at so late an hour that the very deficient light forbad even an attempt to operate. We have, however, a well-executed stereographic slide of The Royal Yacht waiting for the Royal Party, on the quarter-deck of which is clustered a party of ladies and gentlemen, with a few of the sailors connected with the vessel. Conspicuous on the breasts of the several individuals of the group, whether male or female, the wedding favours are loyally displayed. In the background portions of other steam-vessels are visible, gay with bunting, but, alas! in the photograph shorn of its chief attraction—brightness of colour.
Southampton Docks during the Embarkation of the Prince and Princess of Wales is a distant view of the fleet of vessels, in all their holiday attire of flags, &c., which are clearly and sharply defined, with the exception of some of the flags, which always have a perversity in flapping the wrong way just as you want them to be on their best behaviour. There is also a larger-sized single picture including the same subject. The two last-named, though published by Mr. Wiseman, have been executed by an amateur, an occasional contributor to our pages.
Without doubt every illustration of the auspicious event will be sought for and treasure, and will gain additional value as time rolls on.
1863: BJP April 1, vol. X, #187, p. 143:
Exhibition.
Exhibition of the Photographic Society of Scotland.
This Society, as our readers would recently have observed from our advertising columns, having offered medals for excellence in several branches of photographic art, a number of pictures have been received, and are now being exhibited in the Hall, 117, George-street, Edinburgh.
The Exhibition being competitive, the pictures sent do not of course, number so many as at any of the former ordinary Exhibitions; still there are about 100 frames, some of which contain two or more pictures. The following names comprise most of the competing artists:--in “general” pictures: Annan, Burton and Patison, Heath, Jackson, Jeffrey, Lyte, Mayal, Mudd, Robinson, Rodger, Thompson, and Tunny. In photolithography: Geo. A. Dean and Fraser and Anderson. The exponents of carbon printing are Cecil Walker and Son and Pouncy; while enlarged silver prints are contributed solely by Warner.
From the foregoing list some names may have been unintentionally omitted, but it is believed to comprise all.
In landscapes Maxwell Lyte shows a goodly number in his own peculiar style—that is to say, they are magnificent pictures of magnificent mountains, with romantically-situated villages, in what one would suppose were smiling valleys but for the cold blue tone which characterises this gentleman’s productions. Why does he not use less gold in his toning? His pictures would gain thereby. M Lyte evidently lives amid grand scenery, but there is something akin to monotony in seeing in so many pictures the same everlasting mountains, sloping valleys, and picturesque villages.
Burton and Patison, of Preston, exhibit some pictures of general excellence, many of which would be greatly improved by the introduction of a few clouds. Among
Those which would be thus benefited is a View on the Ribble. Their reproduction of an oil painting, by Cooper, A.R.A., is excellent.
The various contributions of Vernon Heath seem to meet with much admiration, and they are worthy of it. Warm and sunny in general effect, exquisite in detail, fine in the gradations of distance, and having the points of view selected with skill, this gentleman’s works must be looked upon by those who believe in the “fine art” pretension of photography to be fine art indeed. It is difficult to state which of his pictures is best; but a vignetted picture of Windsor Castle, with a tangled burn in the foreground, may be considered as not inferior to any of his other productions. His Near Burnam, with the rustic bridge, and the rich, luxuriance of wild shrubbery, also possesses great merit. These are only two out of many of Mr. Heath’s contributions. A close observer will notice that this artist keeps a few separate negatives of sky and clouds, which, however, he introduces with judgment.
Mr. S. Thompson comes out strong. His pictures this year—of which there are more than a dozen—are very much in advance of those in last year’s Exhibition. His predilections are decidedly archæological; and among the old ruined castles and cathedrals contributed by him Jedburgh Abbey may be mentioned as one of the finest. It is, indeed, a picture possessing more than average merit. The reflections in the water are so perfectly rendered, in consequence of its stillness, that one scarcely knows where earth and water unite. Of equal merit are his Warkworth Castle, Durham Cathedral, and Norman Porch, Lindisfarne.
J. Mudd shows a large picture, Castle Craig, Borrowdale, Cumberland, printed from two negatives—printed at any rate on two sheets of paper (the size of the picture and the angle included being very large). Notwithstanding that the joining of the paper is not neatly effected, the picture is a noble one.
Thomas Annan contributes several pictures, all of which are good—his Ruined Fountain especially so, being alike pleasing as a picture and skillfully manipulated as a photograph.
H. P. Robinson’s picture, Bringing Home the May, occupies a prominent position in the room. He also contributes a frame of carte portraits, quite refreshing from their want of conventionalism in grouping.
The best frame of carte portraits in the Exhibition is one of Rodger’s, who has two other frames of nearly equal merit.
Mayall has a case of thirty-two carte-de-visite portraits, embracing many of the Royal Family, with several dignitaries of church and state.
There are only two exhibitors of portraits of the average or half-plate size. One is Jeffrey, who sends portraits of Carlyle and Tennyson. As these portraits may be seen exposed for sale in several shop windows, our readers are, doubtless, quite familiar with them. The other is J. G. Tunny, whose Portrait of a Young Gentleman has a warmth, force, and brilliancy, combined with graceful position, which stamp it as being the best single portrait in the room, contrasting very favourably with some enlarged portraits by Warner, which are of too blue a tone, and are rather wanting in vigour.
Mr. Tunny also exhibits a group (of ten figures) which is remarkable for the “naturalness” of pose, and sharp, skilful manipulation throughout. This is the only “group” in the Exhibition; and it is satisfactory to know that although Mr. Tunny is the only Edinburgh exhibitor, he has thoroughly kept up the credit of that city in the quality of the two pictures contributed by him.
Mr. Pouncy exhibits several pictures in printer’s ink. These show that although his process may do for large, bold subjects, such as the West Door of Holyrood Chapel, yet for general landscapes it is not so suitable.
Cecil Walker and Son have a frame of very beautiful carbon prints; indeed they are the best carbon prints we have seen. The subjects successfully attempted by them are a stereoscopic slide of a polished table, laden with crystal and porcelain vase, flowers, &c.; another of a statuette; some carte de visite and other portraits, ferns, &c. Prints like these will soon cause silver to “tremble on its throne.”
Photolithographs of line subjects are ably represented by those of George A. Dean, which comprise transfers from engravings, writings, printing, and music. Fraser and Anderson, of Perth, also exhibit photolithographs; but theirs are from photographs of natural subjects, of which the Wallace Oak is a favourable specimen.
The Exhibition remains open for only one week, and the public are admitted gratis. Aur. Chl.
1863: BJP April 1, vol. X, #187, p. 143:
Edinburgh University.—Our readers will be interested to learn that the degree of LL.D. is to be conferred on Lord Palmerston and the Hon. Henry Fox Talbot by the Senatus of the Edinburgh University. The ceremony takes place this day (April 1st).
1863: BJP April 1, vol. X, #187, p. 148:
Photographs of the Moon.
Enlarged from Original Negatives taken by Warren De La Rue, F.R.S.
London: Smith, Beck & Beck, 6, Coleman-street.
Those of our readers who have mixed much with the members of the several scientific societies of the metropolis do not need to be told that, for the last five years or more, Mr. Warren De la Rue has devoted a very large proportion of his time—we will not say spare time, for, like ourselves, he hardly knows from experience what that is—to the pursuit of photography in connection with astronomy. During that space of time he has taken so large a number of negatives of the Moon in all its phases that, after destroying those which were not considered by him of sufficient value for preservation, about three hundred of them are still in existence, with the date of production—including the hours and minutes when taken—and length of exposure carefully recorded with a diamond upon the glass of each negative. These have all been acquired by aid of a thirteen-inch reflecting telescope, itself also the product of Mr. De la Rue’s labour; and so exquisite is the sharpness of detail in the original negatives, that they bear without perceptible deterioration an enlargement to about eighteen times their normal diameters. We say about eighteen times, because the negatives are not all one scale of size—the difference of distance between the moon and the earth when in apogee and perigee respectively being sufficient to produce a material variation in the dimensions of the images, just as in portraiture the sitter being further from or nearer to the camera affects the scale of the resulting picture. Of the several series of positive proofs just published, or about to be published, by Messrs. Smith, Beck and Beck, the members of each series are very properly enlarged to an uniform scale, so that the various phases presented appear, as they ought to do, symmetrically differing views of the same object. The most popular series will no doubt be that of twelve selected specimens enlarged to a diameter of two inches each, mounted upon cards corresponding to those of the ordinary carte de visite, and packed in a neat and compact folding case, something after the fashion of a tailor’s pattern book, so that the whole can be opened out for inspection and the entire series seen at one view.
We are informed, by the way, that single copies of any one of the specimens can be had separately, so that it will be in the reach of the humblest amongst us to possess at least one authentic portrait of our satellite.
Accompanying the case of twelve illustrations is a very small but valuable descriptive book, containing also a chart of the moon, by which the names of the several craters, mountains and plains may be ascertained—the last-named portions having been formerly supposed to be seas, a notion now exploded. The several illustrations are respectively as follow, with reference to the age of the moon when the photographs were obtained; but we do not mean it to be understood that they were taken consecutively as quoted, which is very far from being the case; for, on the contrary, while some were secured in 1858, others of them bear date of the close of 1862:
No. 1 is a crescent moon at the age of barely six days.
“ 2 is a half moon at the age of seven days.
“ 3 is taken at the age of eight and a-half days.
“ 4 is taken at the age nine days.
“ 5 is a gibbous moon at the age of ten days
“ 6 is nearly full at the age of twelve days
“ 7 is a full moon at the age of fourteen days.
“ 8 is taken at the age of fourteen and a-half days.
“ 9 is a waning gibbous moon at the age of fifteen days.
“ 10 is taken at the age of eighteen and a-half days.
“ 11 is a bare half moon at the age of twenty-one and a-half days.
“ 12 is a waning crescent at the age of twenty-three and a-half days.
There is one remarkable feature about Nos. 6, 7, and 8 that cannot fail to strike even the casual observer. Though, at the first glance, these all might be mistaken for full moons, the brilliant sharpness of the entire outline of the circular disc is only to be seen in perfection in No. 7, when the moon was actually at the full; yet, on close examination, it will be readily seen that the circular outline is not circular in the absolute sense owing to the irregularities on the surface of the moon itself.
We have, on several occasions, had opportunities of inspecting some of the original negatives produced by Mr. De la Rue. We have already alluded to the beauty of their definition, stating that they bear enlargement to eighteen times their normal size without perceptible deterioration; and so completely is this the case that the large copies, in which the disc of the moon covers a surface of eighteen inches in diameter, appear more beautiful and full of detail than the small ones, the delicate shadows and half-tones on the sides of the various craters and mountain ranges being admirably preserved: indeed, so satisfactory is the result of this enlargement that the publishers have it in contemplation to prepare a series upon a still further enlarged scale, and in which the diameter of the lunar surface will extend to 30 inches—a truly noble undertaking.
It would be scarcely possible to overrate the value of productions such as these when educationally considered, affording as they do instruction bearing upon several of the physical sciences, and that in a manner which presents the facts in a pleasing guise, and so that they run but little danger of being either misunderstood or forgotten. No drawing or engraving, however perfectly executed, can for a moment vie with these photographs in conveying to the mind the actual condition of the lunar surface; and, we may safely affirm that, in future, no books of instruction connected with the science of astronomy can be deemed complete without being accompanied by some at least of these or similar photographs.
1863: BJP April 1, vol. X, #187, p.151:
Fire at a Photographic Gallery, Liverpool.—On Monday morning, the 23rd ult., about two o’clock, a fire was discovered to have broken out in the premises of Mr. Stortz, photographic artist, Havelock Buildings, Bold-street, Liverpool. From the Liverpool Daily Post we learn that much valuable artistic property was destroyed; but that far more serious results might have accrued but for the providential forethought and self-possession of Mr. Stortz’s servant, who, at great risk to herself, and notwithstanding the dense smoke with which the passages were filled, roused the family, consisting of eight persons, and so afforded to all the means of escape from what, in a quarter of an hour more, must have been inevitable death. Mrs. Stortz and all her children but one were at once rescued, when, on counting them, Mr. Stortz perceived there was still one left in the burning apartments. He rushed in again, and found the fifth child sitting on his bed crying bitterly. All were at length safe, and through the kindness of neighbours were covered with blankets, and afforded shelter. Mrs. Stortz suffered the most, through severe fright; but has not, we are glad to hear, sustained any serious injury. The stock, fixtures, furniture, &c., were insured for £2,500 in the Liverpool and London Insurance Office. Mr. Hewitt and the fire brigade were early in attendance, and rendered valuable assistance.
1863: BJP April 15, vol. X # 188, p. 167:
Stereographs.
Mementoes of the Royal Marriage.
Photographed by Valentine Blanchard. London: C.E. Ellioitt, 5, Aldermanbury Postern.
Although the time of year at which the event that above all others has excited the national enthusiasm was one at which photographic operations may be justly characterised as “the pursuit of science under difficulties,” Mr. Blanchard has contrived to secure a few interesting slides for the stereoscope; and though the chief performers in the comedy were not, at the time of operating, visible on the stage, yet No. 246, the Royal Yacht “Victoria and Albert,” Alongside the Terrace Pier, Gravesend, was taken at the moment of the landing of the royal pair. Close in attendance upon the principal vessel is H.M.S. “Black Eagle.” Both are gaily decked, from stem to stern, with every bit of bunting they could muster; and some idea of the rapidity of the exposure given may be gathered from the fact that the forms of the various flags and pendants are clearly discernible though evidently in the act of waving gracefully in the breeze. The “Black Eagle” is “blowing-off” steam, and a number of small craft are skimming about—the whole forming a pleasing picture, apart from the adventitious interest attaching to the scene.
In No. 245, besides the two vessels already named, may be seen the “Emerald” Frigate in the distance, with several steam vessels sending forth clouds of smoke from the funnels.
Nos. 244 and 247 are two views of H.M.S. “Racoon,” to which some special interest is attached from the fact of H.R.H. Prince Alfred having very recently joined it as lieutenant. In No. 244 she appears with the yards manned, and a small steam-tender is seen in front of her with a foreground are two or three boats, the occupants of which are gazing at the vessel-of-war. No. 247 presents a pleasing contrast to the other view: in this the colours are all flying in holiday guise, and again in front is a small steam-vessel, on the paddle-box of which may be discerned the name “Britain,” and some thin black smoke is being emitted. It is curious to notice how completely both smoke and steam add to the pictorial value of the composition, insignificant as they might be supposed to be. These slides will find ready purchasers, for they possess more than a transient value.
1863: BJP May 1, vol. X # 189, p. 189-190:
Stereographs.
Instantaneous Views of London.
Photographed by Valentine Blanchard. London: C.E. Elliott,. Aldermanbury Postern.
Mr. Blanchard has done for London what Mr. England and M.M. Ferrier and Soulier have done for Paris—that is to say, rendered it possible for those who have never visited the metropolis of England to familiarize themselves with the aspect of its out-of-door life and bustle, and to become acquainted with some of its most interesting spots. The series now before us is a continuation of those specimens we have noticed on former occasions, and were mostly executed during the last summer. A very casual inspection of the slides before us is sufficient to convince us that Mr. Blanchard has not retrograded in skill, or, what perhaps would be nearer the truth, that he has still further improved.
The first slide we take up is a striking instance. It represents The Bank of England (N o. 221), looking towards Threadneedle-street, and includes a small portion of the Royal exchange. Numerous cabs, carts, and carriages are admirably caught in transitu, also a host of foot passengers on the pavement by the Bank, including a police constable and several children. A gentleman in light-coloured trousers, and with a square parcel in his hand, is in the act of stopping while crossing the toad, while a lady is just preparing to cross from the pavement in front of the Exchange, upon the steps of which may be noticed the usual groups of idlers lounging about.
The National Gallery (No. 200) has in the foreground an omnibus, into which a lady is in the act of entering, the door being held open by the conductor while leaning across from the “monkey board,” according to the manner of the species, and the words “Kensington” and “Hammersmith” over the door indicate the destination of the vehicle. Some cabs coming suddenly round the corner are blurred a little, as is also the case with some of the pedestrians; but, with regard to the former, this, so far from being a defect, when contrasted with the sharp outlines of the omnibus in th4e centre, actually impresses more vividly the idea of motion. A friend once remarked on looking over some of our collections of instantaneous subjects—“They are very very fine, but they appear arrested in their course: there is no go in them!” There was some truth in the observation, though if taken literally it was exaggerated; certainly in some instantaneous pictures there is an absence of “go,”—a term no doubt very vulgar, but very expressive.
A particularly excellent specimen is The Houses of Parliament from New Westminster Bridge (No. 214). Crowded with passengers and vehicles, which form an interesting and most amusing study, the fine proportions of the bridge are well displayed, and the dial on the Clock Tower reveals the fact that the exposure occurred at eighteen minutes to twelve o’clock. A man near the foreground is buying fruit from an itinerant vendor, who is stopping over his basket and handing his goods to his customer. Some of the people are walking briskly along, others quietly dawdling, and in the distance a boy may be descried progressing with that peculiar hopping run so much affected by the gamins.
If Mr. Blanchard were a bashful man he would no doubt have felt a little embarrassed while taking the Euston Square Terminus (No. 209); for it is pretty evident that he was the “cynosure of every eye”—a whole street full of people having devoted their entire energies to the occupation of staring at him. We have counted about thirty faces all turned towards the operator, and consequently also towards the spectator; so that one can with this slide well imagine how it feels to become the centre of attraction to an admiring audience.
Did our space permit we might go on describing slide after slide almost ad infinitum; but we must of necessity curtail our notices within somewhat narrower limits.
Nos. 205, 213, and 220 are interesting views of Waterloo, Westminster and London Bridges, respectively—the last-named being very artistically executed, the surging of the water through the arches being fully matched by the living stream going over them.
Amongst the scenes of busy active movement are Belgrave Road, Pimlico (No. 210), with the handsome Grosvenor Hotel (note the Irishman selling walnuts coming along the pathway); Holborn Hill (No. 225), with the omnibuses crowded with passengers, rushing down or crawling up; the upper part of Regent Street (No. 226), though with plenty of traffic, evidently not taken at the fashionable hour of the day; Parliament Street (No. 223); Gracechurch Street (No. 229); The Haymarket (No. 202); Regent Circus, Piccadilly (No. 204); and many others of a like character—the last-named including some fine natural clouds, as is also the case with the lower part of Regent Street (No. 203), looking towards the Duke of York’s Column.
By no means the worst of the series is Victoria Road (No. 215), with the new wing of Buckingham Palace, wherein everything, whether animate or inanimate, is wonderfully crisp and sharp in outline. In the immediate foreground is a dray, with a couple of men unloading a cask of beer; further back is a man in the act of crossing the road, a “Hansom” cab advancing just behind him, and a small boy lounging on the kerb-stone looking on.
The Tower of London (No. 222), from Tower Hill, is a very well executed specimen. With the exception of two lads, who have evidently caught sight of the photographer, the other passengers are quite unconscious of what is going on. There are two or three itinerant vendors of fruit,--one of the women in a stooping attitude arranging her apples. On the left is a man walking briskly, with a portmanteau in one hand and a parcel in the other.
Perhaps one of the most interesting illustration of the “lions” of London is St. Paul’s (No. 231), from Bankside, in which the proportions of the fine dome are seen to advantage, though the base of the edifice is concealed by the heterogeneous mass of waterside warehouses—more useful than ornamental, though by no means bad adjuncts in the constitution of a picture. Near the farther shore one of the small river steamers may be discerned, and in mid-channel a long sailing barge, with sail brailed up and mast lowered in order to pass under the bridges, is gliding down stream. On the near shore is a lighter high and dry on the right hand, and on the left another craft undergoing repairs, in which a carpenter is standing and turning to look at Mr. Blanchard, as also are three little girls on the shore, while shading their eyes from the sun with their hands. This is a really excellent slide, and we feel the more interest in it from having learnt accidentally, while conversing a short time ago with Mr. Elliott, that the negative, though full of beautiful detail, appeared weak and had for some time been thrown aside in consequence of its being quite unmanageable in the printing, until one day it was tried upon a sensitized sheet of paper upon which the free nitrate of silver was in unusually small proportion—that is to say, the sheet had been sensitized by means of floating for some time upon a weak silver bath. The result was so satisfactory that the negative was at once taken into favour again. This is a hint worth remembering.
Of Mr. Blanchard’s peculiar studies of cloud and water effects we have several new specimens, the charm of which is more easily felt than described. We must therefore content ourselves with little more than naming some of the most noteworthy, amongst which are Out of its Element (No. 235), a steam vessel stranded on the mud; Evening on the Thames at Gravesend (No. 236); The Coming Storm (No. 233), a mass of heavy black clouds, from behind which the sun’s rays are streaming down in the far distance; A Squally Day (No. 234); A Study at Millwall (No. 241); Sunset (No. 227); and Gravesend, from Tilbury (No.l 240), of which the atmospheric beauties are considerable.
Of course these subjects have not been the result of the present year’s labour, it being still too young to have permitted much being done in landscape, or indeed in out-door photography of any kind. We trust the coming season may be such as to afford plenty of “plunder” for the camera, so that so skilful an operator as Mr. Blanchard may obtain his due share of work to do, and, what is at least as much to the purpose, a due share of the substantial rewards of his labour.
1863: BJP June 1, vol. X, #191, p. 225-226:
History of the Earliest Successful Experiments on Lunar Photography in England.* By J. A. Forrest. [*Read at a Soirée of the Historic Society of Lancashire and Cheshire, held at the Egyptian Museum, Colquitt-street, Liverpool, on the invitation of the public spirited proprietor of the above interesting Museum, Mr. Joseph Mayer, of Liverpool.]
In the first number of the Liverpool Photographic Journal, published on the 1st January, 1854, is announced the fact that the British Association had offered a premium for the best photograph of the moon, for which it was expected our resident photographers would compete. On the 12th of January I waited upon Mr. John Hartnup, at the Liverpool observatory, and asked him if he would co-operate with the Liverpool Photographic Society in endeavouring to obtain photographs of the moon for the coming meeting of the British Association, which was proposed to be held in Liverpool in September of that year. He acquiesced most cordially in the proposal, and we commenced our arrangements immediately afterwards. At this early stage of our proceedings we were assisted by the counsel of Mr. G. R. Berry, and in February we were joined in our operations by Dr. Edwards.
Before proceeding further with the narrative, I will describe the position of lunar photography in the beginning of 1854. The discoveries of M. Daguerre and Mr. Fox Talbot were both brought out in England under the bane of the patent laws: the result was that our American cousins, free from such trammels, made rapid progress in the development of the Daguerreotype silver-plate process. We find that Professor Bond, of Cambridge, U.S., was the first person that applied this process to the delineation of the moon. He possessed instruments of larger magnifying power than those at the Liverpool Observatory. His perseverance was highly creditable to him as a scientific investigator, for he spoiled one or two hundred Daguerreotype plates before he obtained a good result. Some of these specimens reached England, and stimulated the British Association to make the offer above named in the session of 1853. In the meantime a new discoverer had appeared in Mr. Scott Archer, of London, imparting his valuable collodion process to the world with a disinterestedness which cannot be too highly praised, no restrictions having been imposed after the discovery. Had he done so, his fortune was secure; for up to this moment all other photographic media have nearly ceased to exist, and his alone remains. He died, leaving a widow and three children, for whom the photographers of England did some little to provide for. There can be no question that it proved the most valuable discovery in photography, and we cannot but contrast the facts that France gave Daguerre a pension, while to this hour the orphans of Scott Archer are, as far as I have heard, unnoticed by our Government, although his discovery gave employment to a very large number of our countrymen, and opened up a wider diversity of uses and applications of the art than could otherwise have been preconceived. Oh, England! When will the angry din of politics and war leave you a moment’s time to consider the claims of Archer in his orphan children—of him who has given to this age associations of the most endearing character, in the fact that almost every household possesses a carte-de-visite album of those familiar faces that makes our firesides happy?
With this lever of power we started in January, 1854. How the object in view was accomplished has been well described by Dr. Edwards, and afterwards by Mr. Charles Corey.
The telescope of the Liverpool Observatory is furnished with an excellent equatoreal mounting and clock-work motion of great firmness and steadiness. The object-glass has a focal length of about 12 ½ feet; and a small camera-box being substituted for the eyepiece, the image is received upon the ground-glass or the prepared plate in the ordinary manner. After much fruitless labour the chemical focus was discovered to be about eight-tenths of an inch beyond that of the visual one, the glass being over-corrected to that extent in respect to its actinic focus. It was at first difficult to decide whether the want of sharpness of outline observed was due to the motion of the object or to imperfect focusing, and the most excellent specimens were obtained by the continual guidance of Mr. Hartnup’s steady hand in addition to the clock-work movement, while his eye was kept on the finder with a micrometer eyepiece of good power, crossed with fine wires, by which he could maintain the position of a given point in the field. The time for taking these pictures varied from thirty seconds to three minutes, and the chemicals employed were those ordinarily used for taking positive collodion pictures. The bath was slightly acid, and the developing agent was sulphate of iron, in the proportion of ten grains to the ounce of water. The pictures were afterwards converted into negatives by aid of chloride of gold. The impressed image measured one inch and one-third in diameter. This was too small to be useful, and the consequence was, that Mr. Hartnup and I called upon an optician to inquire how far we might safely enlarge it without losing sharpness. He said he thought two or three diameters. A few days afterwards, Mr. Hartnup proposed to send to Mr. Towson for his magic lantern, and our first attempt was to enlarge it on the screen to twenty-five feet diameter. You may easily imagine our astonishment to find it nearly as sharp as the original, and our optical friend’s theory utterly groundless. We beheld the crater of Copernicus, which is almost invisible in the original, six inches in diameter, with its shadow beautifully delineated; and, like Cuvier of old when he placed the bones of the mammoth together for the first time, we looked with delight on seeing the surface of the moon as no one had seen it before. With data like this to go by, we proposed to get a screen made fifty-six feet square, to cover the side of St. George’s Hall, and to project the image across the hall, by the means of an oxyhydrogen light. We were very kindly assisted in this by Mr. Wood, of the firm of Messrs. Abraham and Co., Lord-street.
It was found necessary to enlarge the first impression suitable for the magic lantern. This part of the arrangement was intrusted to Mr. John M’Innes, who adopted the mode of enlargement proposed by Mr. Stewart in a letter to Sir John Herschel, which appeared in the Athenœum early in 1854—with only this difference, that instead of having the box made in one piece he used his small camera, introducing the lens into the opening of a half-plate camera box, thus placing them front to front. The negative to be copied he placed in the groove of the slide of the small camera, and exposed it to the direct rays of the sun, or to the brightest portion of the sky, the picture being received upon a collodionised glass plate placed in the slide of the larger box.
In the course of our experiments a question arose as to the practicability of taking a stereoscopic view of the moon. Mr. Hartnup suggested a plan by which this would be settled; it was by taking the moon twelve hours before her full and then twelve hours after, and the result was that we got a shadow of both sides. We put these impressions in the stereoscope, on looking through which the moon appeared a perfect ball.
The Abbé Moigno, the French representative of science at the meeting of the British Association in 1854, wrote an article which appeared in Cosmos, published in Paris, 21st October, 1854, as follows:--“Photography has not been wanting at the congress of the different branches of science which has taken place at Liverpool. It has shone with great brilliancy; for one of the principal results of that splendid reunion has been the exhibition of the beautiful photographs of the moon, taken by Messrs. Hartnup, Forrest, Edwards and Berry, and of which we have already spoken. An immense linen cloth or screen, fifty feet square, was extended in front of one of the balconies of the gallery. On the balcony (opposite) was placed a magic lantern, illumined by a Drummond light—a jet of oxygen and hydrogen gas thrown upon a piece of lime. The photographs of the moon, placed in the focus of the lens of the lantern and illumined by that brilliant light, were projected on the screen, enlarged to enormous proportions. They were in sufficient number to represent our satellite in all her phases, from the new moon to the full; and the numerous audience, by the aid of the explanations of Messrs. Hartnup and Phillips, were enabled to make a complete study of the astonishing peculiarities of hat surface, bristling with craters and volcanic mountains. Everybody admired a full moon as truly astonishing, and which covered almost the whole of the vast screen without losing its sharpness.”
The members of the Liverpool Photographic Society were the only parties in Liverpool that ever started and carried on a purely scientific journal with profit and success. It is curious in the present day to see many improvements put forth as novelties that originated in the earlier stages of this Society.
Lunar photographs has received considerable impulses since that period by Mr. De la Rue and Mr. Samuel Fry, whose photographs will be presented to you this evening along with the original photographs that were exhibited before the British Association in September, 1854. So pleased was Professor Phillips with the result of our experiments, that he proffered a lecture to the assembled audience of the British Association and their friends on the subject; and at the Thursday soirée, during the exhibition of the moon surface enlarged to fifty-six feet in diameter, he said the duty he had to perform would have been far better executed by either of the members of the Committee appointed by the Association to take measures for investigating by accurate telescopic observations the physical aspect of the moon. The other members of the Committee were Lord Rosse and the Rev. Dr. Robinson, both of whom were far better acquainted with the aspect of the moon by the employment of finer instruments and their greater astronomical knowledge than he was. But nothing which they had to show in the shape of photographs of the moon was at all to be compared with the results that had been obtained by the voluntary exertions of the photographers of Liverpool. The learned gentleman then proceeded to describe that tract of the moon which had been committed to him to survey, and which contained the crater of Plato. He illustrated his observations by a very beautiful drawing of this portion of the moon’s surface by Mr. Nasmyth; and, observed that daily experience showed the more their telescopic power was increased the less circular appeared the lunar craters, and the less smooth the surface of the mono. All was sharp and irritated—a perfect representation of its past history which was marvelous to see. Passing from this portion of his subject, the learned Professor alluded to the much-debated question as to there being traces of the action of water on the surface of the moon, as now presented to us. At one time he believed that there was no water to be seen; but he confessed that more recent observations, particularly those made by Lord Rosse’s telescope, shook his belief in that opinion. Professor Phillips’s lecture—if we may so term the cursory observations which he made—was of a most interesting character, and was eminently calculated to accomplish the end at which he aimed, namely, to lead all parties to a study of this most attractive subject, for attractive it certainly is in his hands; and, in thus making us acquainted with the wonders of nature, teach us to recognize and acknowledge the power and greatness and glory of God, the Creator of all.
1863: BJP Sept. 1, vol. X, #197, p. 350-351:
Kew Observatory.
The value of this institution—to the maintenance of which the General Committee of the British Association devotes a large portion of the surplus income—is becoming more apparent year by year. An elaborate report of the Kew Committee for 1862-3, was read at the Meeting of the General Committee on Wednesday last, the 26th ult., and we extract such portions as relate to the important part photography bears in the general operations of the Observatory:--
“The Chairman has procured a stereoscope affording very great angular separation, which remains at Kew; and he has also ordered a heliostat from Paris. By those means it is hoped that the minutiæ of the solar spectrum may soon be capable of being examined with great facility.
“The solar spots are now regularly observed at
Kew, after the method of Dr. Schwabe, of Dessau, who has been communicated with,
and will be written to from time to time, in order to ensure that both observers
pursue exactly the same method of observation. It will be remembered that in
the report of the Committee at the Cambridge meeting it was stated that Mr.
De la Rue had taken 177 photographs of the sun, and that the number of
available days from February 7 to September 12, 1862, was 124. The Kew
heliograph was worked at Cranford up to February 7, 1863, and photographs were
procured on forty-two other days between
September 12, 1862, and February 7, 1863, making 166 working days in the whole
year. The series of negatives are now in course of measurement and reduction by
Dr. Von Bose; the micrometer employed is the same as that constructed for and
used in the measurements of the eclipse pictures obtained in Spain in 1860, a
detailed description of which instrument is given in Mr. De la Rue’s
paper in the Philosophical Transactions, Vol. clii, pp. 373 to 380. Of
the 1862-1863 series, the measurement are finished up to the end of June, and
the reductions to the end of April, 1862; both will be completed at the end of
this year. In February of the present year the heliograph was removed from
Cranford to the Kew Observatory, and erected again in the dome. A new and
commodious photographic room has been built on the roof of the Observatory,
close to the dome, and has been fitted up with the requirements necessary for
the successful prosecution of astronomical photography. The expense of this
room has been defrayed out of the sum of £100 granted for that object at the
Cambridge meeting. The actual sum expended up to the present time amounts to
£89, leaving a balance of £11, which will cover the outlay for a few pieces of
apparatus which are still required. Between February 7 and May of the present
year pictures of the sun were occasionally procured at Kew; but the heliograph
could not be fairly got to work until the completion of the photographic room
and the final adjustment of the instrument itself. From the 1st of
May to the present time the heliograph has been continuously worked by a
qualified assistant, under the immediate supervision of Mr. Beckley. Two
photographs are taken on every working day, one to the east, and the other to
the west of the meridian, when atmospheric conditions permit of this being
done. From May 1st to August 14th inclusive, there have
been fifty-four working days. Four positive copies are made regularly from each
negative, one of which it is proposed to retain at Kew, and it is in
contemplation to distribute the others. Mr. Stewart, after an inspection of all
the sun pictures obtained by the Kew heliograph, is inclined to think that the
behaviour of solar spots with respect to increase and diminution has reference
to ecliptical longitudes, and is possibly connected with the position of the
nearer planets; but it will require a longer series of pictures to determine
this, than that which has yet been obtained. The heliograph constructed by Mr.
Dallmeyer for Wilna, Mr. De la Rue’s superintendence, has been completed,
and will shortly be sent to Russia, together with a micrometer and protractor
constructed by Messrs. Troughton and Simms, which will be employed in the
measurement and reduction of the sun-pictures. Of the £150 granted by the
Association in 1861, for the purpose of obtaining a series of photographic
pictures of the solar surface, a sum of £137 3s. has been expended from
February, 1862 to February, 1863, and the balance, £12 17s. hays been returned
to the Association. In 1860 a sum of £90 was voted for an additional
photographic assistant, of which £50 was received and expended in that year.
The balance, £40, was again granted in 1861, out of which £20 2s 10d. have been
expended. The working of the Kew photo-heliograph during the year, commencing
in February, 1863, will be defrayed out of a grant placed in the hands of Mr.
De la Rue by the Royal Society for that purpose.”
1863: BJP Sept. 1, vol. X, #197, p. 351-352:
Doings of the Sunbeam*, by Dr. O. W. Holmes. [*Continued from page 333]
The field of photography is extending itself to embrace subjects of strange and sometimes of fearful interest. We have referred in a former article to a stereograph in a friend’s collection showing the bodies of the slain heaped up for burial after the Battle of Malignano We have now before us a series of photographs showing the field of Antietam and the surrounding country, as they appeared after the great battle of the 17th of September. These terrible mementoes of one of the most sanguinary conflicts of the war we owe to the enterprise of Mr. Brady, of New York. We ourselves were on the field upon the Sunday following the Wednesday when the battle took place. It is not, however, for us to bear witness to the fidelity of views which the truthful sunbeam has delineated in all their dread reality. The photographs bear witness to the accuracy of their dread reality. The photographs bear witness to the accuracy of some of our own sketches in a paper published in the December number of this magazine. The “ditch” is figured, still encumbered with the dead; and strewed, as we saw it and the neighbouring fields, with fragments and tatters. The “colonel’s gray horse” is given in another picture just as we saw him lying.
Let him who wishes to know what war is look at this series of illustrations. These wrecks of manhood thrown together in careless heaps, or ranged in ghastly rows for burial, were alive but yesterday. How dear to their little circles far away most of them! How little cared for here by the tired party whose office it is to consign them to the earth! An officer may here and there be recognised; but for the rest—if enemies, they will be counted, and that is all. “Eighty rebels are buried in this hole,” was one of the epitaphs we read and recorded. Many people would not look through this series. Many, having seen it and dreamed of its horrors, would lock it up in some secret drawer, that it might not thrill or revolt those whose soul sickens at such sights. It was so nearly like visiting the battle-field to look over these views, that all the emotions excited by the actual sight of the stained and sordid scene, strewed with rags and wrecks, came back to us, and we buried them in the recesses of our cabinet as we would have buried the mutilated remains of the dead they too vividly represented. Yet war and battles should have truth for their delineator. It is well enough for some Baron Gros or Horace Vernet to please an imperial master with fanciful portraits of what they are supposed to be. The honest sunshine
“Is Nature’s sternest painter, yet the best;”
and that give us, even without the crimson colouring which flows over the recent picture, some conception of what a repulsive, brutal, sickening, hideous thing it is, this dashing together of two frantic mobs to which we give the name of armies. The end to be attained justifies the means, we are willing to believe; but the sight of these pictures is a commentary on civilisation such as a savage might well triumph to show its missionaries. Yet through such martyrdom must come our redemption. War is the surgery of crime. Bad as it is in itself, it always implies that something worse has gone before. Where is the American, worthy of his privileges, who does not now recognize the fact, if never until now, that the disease of our nation was organic, not functional, calling for the knife, and not for washes and anodynes?
Is it a relief to soar away from the contemplation of these sad scenes and fly in the balloon which carried Messrs. King and Black in their aerial photographic excursion. Our townsman, Dr. John Jeffries, as is well recollected, was one of the first to tempt the perilous heights of the atmosphere, and the first who ever performed a journey through the air of any considerable extent. We believe this attempt of our younger townsmen to be the earliest in which the aeronaut has sought to work the two miracles at once—of rising against the force of gravity, and picturing the face of the earthy beneath him without brush or pencil.
One of their photographs is lying before us. Boston, as the eagle and the wild goose see it, is a very different object from the same place as the solid citizen looks up at its eaves and chimneys. The Old South and Trinity Church are two landmarks not to be mistaken. Washington-street slants across the picture as a narrow cleft. Milk-street winds as if the cowpath which gave it a name had been followed by the builders of its commercial palaces. Windows, chimneys, and skylights attract the eye in the central parts of the view, exquisitely defined, bewildering in numbers. Towards the circumference it grows darker, becoming clouded and confused; and at one end a black expanse of waveless water is whitened by the nebulous outline of flitting sails. As a first attempt it is on the whole a remarkable success; but its greatest interest is in showing what we may hope to see accomplished in the same direction.
While the aeronaut is looking at our planet from the vault of heaven where he hangs suspended, and seizing the image of the scene beneath him as he flies, the astronomer is causing the heavenly bodies to print their images on the sensitive sheet he spreads under the rays concentrated by his telescope. We have formerly taken occasion to speak of the wonderful stereoscopic figures of the moon taken by Mr. De la Rue, in England; by Mr. Rutherford and by Mr. Whipple in this country [U.S- article copied by BJP from American publication]. To these most successful experiments must be added that of Dr. Henry Draper, who has constructed a reflecting telescope, with the largest silver reflector in the world, except that of the Imperial Observatory at Paris, for the special purpose of celestial photography. The reflectors made by Dr. Draper “will show Debilissima quadruple, and easily bring out the companion of Sirius or the sixth star in the trapezium of Orion.” In taking photographs from these mirrors a movement of the sensitive plate of only on-hundredth of an inch will render the image perceptibly less sharp. It was this accuracy of convergence of the light which led Dr. Draper to prefer the mirror to the achromatic lens. He has taken almost all the daily phases of the moon, from the sixth to the twenty-seventh day, using mostly some of Mr. Anthony’s quick collodion, and has repeatedly obtained the full moon by means of it in one-third of a second.
In the last Annual Scientific Discovery are interesting notices of photographs of the sun, showing the spots of him disc, of Jupiter with his belts, and Saturn with his ring.
While the astronomer has been reducing the heavenly bodies to the dimensions of his stereoscopic slide, the anatomist has been lifting the invisible by the aid of his microscope into palpable dimensions, to remain permanently recorded in the handwriting of the sun himself. Eighteen years ago M. Donné published in Paris a series of plates executed after figures obtained by the process of Daguerre. These, which we have long employed in teaching, give some pretty good views of various organic elements, but do not attempt to reproduce any of the tissues. Professor O. N. Rood, of Troy, has sent us some most interesting photographs, showing the markings of infusoria enormously magnified and perfectly defined. In a stereograph sent us by the same gentleman the epithelium scales from mucous membrane are shown floating or half submerged in fluid—a very curious effect, requiring the double image to produce it. Of all the microphotographs we have seen, those made by Dr. John Dean, of Boston, from his own sections of the spinal cord, are the most remarkable for the light they throw on the minute structure of the both. The sections made by Dr. Dean are in themselves very beautiful specimens, and have formed the basis of a communication to the American Academy of Arts and Sciences, in which many new observations have been added to our knowledge of this most complicated structure. But figures drawn from images seen in the field of the microscope have too often been known to borrow a good deal from the imagination of the beholder. Some objects are so complex that they defy the most cunning hand to render them with all their features. When the enlarged mage is suffered to delineate itself, as in Dr. Dean’s view of the medulla oblongata, there is no room to question the exactness of the portraiture, and the distant student is able to form his own opinion as well as the original observer. These later achievements of Dr. Dean have excited much attention here and in Europe, and point to a new epoch of anatomical and physiological delineation.
The reversed method of microscopic photography is that which gives portraits and documents in little. The best specimen of this kind we have obtained is another of those miracles which recall the wonders of Arabian fiction. On a slip of glass, three inches long by one broad, is a circle of thinner glass, as large as a ten-cent piece. In the centre of this is a speck, as if a fly had stepped there without scraping his foot before setting it down. On putting this under a microscope magnifying fifty diameters there come into view the Declaration of Independence in full, in a clear, bold type, every name signed in fac-simile; the arms of all the States, easily made out, and well finished; with good portraits of all the Presidents, down to a recent date. Any person familiar with the faces of the Presidents would recognise any of these portraits in a moment.
Still another application of photography, becoming every day more and more familiar to the public, is that which produces enlarged portraits, even life-size ones, from the old Daguerreotype or more recent photo graphic miniature. As we have seen this process, a closet is arranged as a camera-obscura, and the enlarged image is thrown down through a lens above on a sheet of sensitive paper placed on a table capable of being easily elevated or depressed. The image, weakened by diffusion over so large a space, prints itself slowly, but at last comes out with a clearness which is surprising—a fact which is parallel to what is observed in the stereoscoptican [sic], where a picture of a few square inches in size is “extended” or diluted so as to cover some hundreds of square feet, and yet preserves its sharpness to a degree which seems incredible.
The copying of documents to be used as evidence is another most important application of photography. No scribe, however skilful, could reproduce such a paper as we saw submitted to our fellow-workman in Mr. Black’s establishment the other day. It contained, perhaps, a hundred names and marks; but smeared, spotted, soiled, rubbed, and showing every awkward shape of penmanship that a miscellaneous collection of half-educated persons could furnish. No one, on looking at the photographic copy, could doubt that it was a genuine reproduction of a real list of signatures; and when half-a-dozen such copies, all just alike, were shown, the conviction became a certainty that all had a common origin. This copy was made with a Harrison’s globe lens of sixteen inches’ focal length, and was a very sharp and accurate duplicate of the original. It is claimed for this new American invention that it is “quite ahead of anything European;” and the certificates from the United States Coast Survey Office go far towards sustaining its pretensions.
Some of our readers are aware that photographic operations are not confined to the delineation of material objects. There are certain establishments in which, for an extra consideration (on account of the difficilis ascensus, or other long journey they have to take), the spirits of the departed appear in the same picture which gives the surviving friends. The actinic influence of a ghost on a sensitive plate is not so strong as might be desired; but considering that spirits are so nearly immaterial—that the stars, as Ossian tells us, can be seen through their vaporous outlines—the effect is perhaps as good as ought to be expected.
Mrs. Brown, for instance, has lost her infant, and wishes to have its spirit-portrait taken with her own. A special sitting is granted, and a special fee is paid. In due time the photograph is ready, and, sure enough, there is the misty image of an infant in the background, or, it may be, across the mother’s lap. Whether the original of the image was a month or a year old, whether it belonged to Mrs. Brown or Mrs. Jones or Mrs. Robinson, King Solomon, who could point out so sagaciously the parentage of unauthenticated babies, would be puzzled to guess. But it is enough for the poor mother, whose eyes are blinded with tears, that she sees a print of drapery like an infant’s dress, and a rounded something, like a foggy dumpling, which will stand for a face” she accepts the spirit-portrait as a revelation from the world of shadow. Those who have seen shapes in the clouds, or remember Hamlet and Polonius, or who have noticed how readily untaught eyes see a portrait of parent, spouse, or child in almost any daub intended for the same, will understand how easily the weak people who resort to these places are deluded.
There are various ways of producing the spirit-photographs. One of the easiest is this. First procure a bereaved subject with a mind “sensitised” by long immersion in credulity. Find out the age, sex, and whatever else you can, about his or her departed relative. Select from your numerous negatives one that corresponds to the late lamented as nearly as may be. Prepare a sensitive plate. Now place the negative against it and hold it up close to your gas-lamp, which may be turned up pretty high. In this way you get a foggy copy of the negative in one part of the sensitive plate, which you can then place in the camera and take your flesh-and-blood sitter’s portrait upon it in the usual way. An appropriate background for these pictures is a view of the asylum for feeble-minded persons, the group of buildings at Somerville, and, possibly, if the penitentiary could be introduced, the hint would be salutary.
The number of amateur artists in photography is continually increasing. The interest we ourselves have taken in some results of photographic art has brought us under a weight of obligation to many of them which we can hardly expect to discharge. Some of the friends in our immediate neighbourhood have sent us photographs of their own making which for clearness and purity of tone compare favourably with the best professional work. Among our more distant correspondents there are two so widely known to photographers that we need not hesitate to name them: Mr. Coleman Sellers, of Philadelphia, and Mr. S. Wager Hull, of New York. Many beautiful specimens of photographic art have been sent us by these gentlemen—among others, some exquisite views of Sunnyside and of the scene of Ichabod Crane’s adventures. Mr. Hull has also furnished us with a full account of the dry process, as followed by him, and from which he brings out results hardly surpassed by any method.
A photographic intimacy between two persons who never saw each other’s faces (that is, in Nature’s original positive, the principal use of which, after all, is to furnish negatives from which portraits may be taken) is a new form of friendship. After an introduction by means of a few views of scenery or other impersonal objects, with a letter or two of explanation, the artist sends his own presentment, not in the stiff shape of a purchased carte de visite, but as seen in his own study of parlour, surrounded by the domestic accidents which so add to the individuality of the student or the artist. You see him at his desk or table with his books and stereoscopes round him; you notice the map by which he reads—the objects lying about; you guess his condition, whether married or single; you divine his tastes, apart from that which he has in common with yourself. By-and-by, as he warms towards you, he sends you the picture of what lies next to his heart—a lovely boy, for instance, such as laughs upon us in the delicious portrait on which we are now looking, or an old homestead, fragrant with all the roses of his dead summers, caught in one of Nature’s loving moments, with the sunshine gilding it like the light of his own memory. And so these shadows have made him with his own memory. And so these shadows have made him with his outer and his inner life a reality for you; and but for his voice, which you have never heard, you know him better than hundreds who call him by name, as they meet him hear after year, and reckon him among their familiar acquaintances.
To all these friends of ours, those whom we have named, and not less those whom we have silently remembered, we send our grateful acknowledgments. They have never allowed the interest we have long taken in the miraculous art of photography to slacken. Though not one of them may learn anything from this simple account we have given, they will perhaps allow that it has a certain value for less instructed readers, in consequence of its numerous and rich omissions of much which, however valuable, is not at first indispensable.
1863: BJP Oct. 1, vol. X, # 199, p. 390:
Stereographs.
Ferns in Their Own Haunts.
Photographed by H. Petschler. Manchester: H. Petschler and Co., 84, Market Street.
There is perhaps no class of stereographs which would command a more extensive circulation amongst scientific followers of botanical studies than a good series showing the several British species as they exist in their natural habitats. Those now before us, though embracing but few species of ferns, form a worthy commencement of such a series, and we sincerely hope that the artist will take every available opportunity of adding to their number. Their mere value as pictures is by no means to be overlooked, and some of them, even without the aid of the stereoscope, will attract purchasers. For instance, who could resist the beauty of No. 330, Grotto of Ferns in Derbyshire, in which, amongst other denizens of this rocky district, a fine plant of the Pteris aquiline fills the greater part of one side of the natural grotto, while a smaller one of the Blechnum spicant is snugly ensconced in a niche on the opposite side? No. 332 is another specimen of the Pteris, presenting a more rigid aspect from its having been more hardily reared.
In Nanny Nutter’s Porridge-Pot, No. 333, is a beautiful plant of Athyrium felix-fremina, with its graceful feathery fronds, more elegantly arranged than a lady’s court plume.
Unless we are mistaken, in No. 339—a scene on the Stream Side in Chunel Wood—we recognize a species of Aspidium.
No. 335, another scene in Nanny Nutter’s Porridge-Pot, is very interesting. A portion of a thick wood, through which the sunlight struggles in brilliant patches, is carpeted by masses of ferns, amongst which is to be seen the Polypodium vulgare. The five species already mentioned are all we have been able to detect amongst the several slides; they are, however, presented under so many different conditions of location that a special value is thereby imparted to each stereography. Compare, for instance, Nos. 70, 284, and 336, in which the same species are found under different aspects.
We have two specimens numbered 71, being the same scene—one vignetted, the other not so. We have often pointed out the disadvantage of vignetting stereographs, and had we any doubt remaining on the impolicy of the practice, these specimens would have decided the point. The unvignetted slide is a charming production. We are informed that the negatives have been taken chiefly with an aplanatic six-inches focus lens, and by the Tanpenôt process—one that has always been a favourite with our Manchester friends, and deservedly so, for they have certainly excelled in its practice.
To the young botanist stereographs like those now before us applied to any kind of plant must be invaluable, enabling him to become familiar with the natural physiognomy of the living specimens of which in too many instances he is at present obliged to study only from drawings, or perhaps mutilated dried samples in the herbarium. If anything can make up for the absence of the originals in their own homes, it is such cleverly-executed portraits of them as Mr. Petschler’s stereographs.
1863: BJP Nov. 2, vol. X, #201, p. 433:
Waifs and Strays. [selected portions]
The Photographer in Battle.—It is stated that an enterprising Confederate artist coolly stationed himself before the ruins of Fort Sumter in the midst of the flying shells to photograph the ironsides and monitors while hard at their deadly work.
New Photographic Publications.—Mr. Murray will publish, at Christmas, a series of seventy-five photographs of Rock-cut Temples in Indian (Ellora and Ajunta), by Major Cole. An introduction and letter-press text to these will be furnished by Mr. Fergusson. –Athenæum
Photography As A Detective.—In the case of the great bank fraud in the City, in connect5ion with which a reward of £1,000 was offered, the prisoner, who had absconded, was found to have resided with a photographer in the neighbourhood of Worthing, and upon inquiry it was discovered that this photographer had a negative portrait of the fugitive, and also of his wife and child, from which about 1,500 copies were taken, and largely distributed through both this and other countries. This proceeding resulted in the capture, in the city of Pesth, of Sigmund Dietrichstein.
Cartes De Visite Extraordinary.—In Vienna circles it is stated that in the course of a few days cartes de visite of the most extraordinary character will be given to the world. The Musical Society in that city has given vent to its zeal and enthusiasm by disinterring the mortal remains of Beethoven and Schubert, whose coffins were exhumed in presence of a large number of musicians and others. The object in doing so was to transfer the remains to a more honoured resting-place. A photographer was in attendance, and negatives of all that remained of these two renowned men were taken, proofs from which, carte de visite size, are stated to be in preparation for issue to the public.
M. Temple discovered a new comet at Marseilles on the 14th ult., apparently moving in a north-westerly direction. Another was observed at Amiens about the same time, but presented an appearance totally different from that described by M. Tempel. [sic]