the cabinet is the most artistic in its proportions. As nearly as
possible it falls under that art rule of producing an oblong or
parallelogram of the most agreeable proportions, which is as the
diagonal is to the square. The size of the cabinet is 5-1/2 by 4, and if
you measure the diagonal of the square of 4 inches, you will find that
the length of the cabinet, 5-1/2 inches, is as near that as possible.
Doubtless Mr. Window had this in view when he introduced the size, and
whether for upright or horizontal pictures, such proportions are
decidedly the best. Many of the sizes already in use are too long,
others are too short and square. In addition to the beautiful
proportions of the cabinet size, it gives the portrait photographer more
room and opportunities to introduce harmonious forms and effects in the
posing and arrangements of portraits and groups; and I have seen some
very charming views on the cabinet size, 5-1/2 by 4 inches horizontally;
as well as some very beautiful interiors of Westminster Abbey, by Mr. V.
Blanchard, on the cabinet cards vertical, which proves pretty
conclusively that the proportions of the diagonal to the square of any
size will suit both vertical and horizontal pictures. I have not the
least doubt but a much greater demand for those cabinet pictures, both
portrait and landscape, could be created, if photographers would set
about introducing them with a will: depend upon it if they will but put
their heart into the matter, they would put money into their pockets. I
know how much has been done by launching them fearlessly on the sea of
public patronage in several localities, and I feel certain the demand
would be much more general if the cabinet picture were judiciously
introduced. Mr. H. P. Robinson and Mr. Nelson K. Cherrill, having
entered into partnership, are on the point of opening a photographic
establishment at Tunbridge Wells, where they intend to incur
considerable expense to introduce the cabinet portrait, and give it that
prominence it so justly merits.
Since writing you last, I learn from a friend who is intimate with Mr.
McLachlan that there is every possibility of his secret being revealed
ere long. That this secret formula will be an immense boon to all
photographers, there can be little doubt. If an absolute immunity from
streaks in the direction of the dip, brain-markings, and pinholes--which
are the advantages said to be derived from the process--can be
guaranteed, then will the manipulatory part of photography be at once
made easy; and Mr. McLachlan will have conferred a personal obligation
on every photographic manipulator. Not only will photographers be
benefitted by Mr. McLachlan's generous conduct, the whole world will
participate in the advantages he intends to place as a gift in the hands
of photographers; and even _art_, that is so afraid of a photographic
amalgamation, will be _honoured_ by the revelation. But once let the
mind of the operator be for ever free from the cares and anxieties of
his negative being clean, spotless, and excellent in quality, he will
then have more time and inclination to put his art knowledge, if he have
any, into practice, by paying more attention to the pose of his sitters
and the artistic choice and arrangement of accessories. If he be without
art knowledge he will be obliged to acquire it and put it into practice,
or be driven out of his field of operations. For, if the chemical
difficulties and uncertainties are to be so summarily disposed of, and
all the manipulations reduced to a certainty and dead level, a
pre-eminence in the profession can only be maintained by him who
exhibits a taste, feeling, and love for his labours superior to the
desire to palm upon the public, for mere gain, works that are a disgrace
and a scandal to the profession of which he is a member. That such a
condition of things photographic may be quickly brought about is much to
be desired, and if such be the result of Mr. McLachlan's very noble
willingness to give to the photographic community experiences that have
cost him much time and money in acquiring by close observation and
experiment, he will, at the least, be entitled to the sincere and hearty
acknowledgments of all well-wishers and lovers of our art-science.
_Apropos_ of clean and easy development, I should like to know if any of
your numerous readers have tried the effect of sulphate of zinc with the
iron developer. I understand its use obviates the necessity of using
acetic acid as a retardant; that the deposit of silver is much more
delicate than that produced by iron alone; that the control over it is
very great; that any amount of intensity can be obtained by one or more
applications, without the aid of pyrogallic acid, and without producing
harshness or hardness. With such recommendations it is certainly worth a
trial. I have had no time to try it myself, but think it is of
sufficient importance to give your readers an opportunity of
experimenting with it, and judging for themselves.
_Photographic News, April 10th, 1868._
* * * * *
"LUX GRAPHICUS" ON THE WING.
The Late Lord Brougham--New Fields for Photography--Natural Objects
Coloured--The Monochrome and Autotype--Mr. McLachlan again.
Death has just swept away one of the most gigantic intellects of the
nineteenth century. For me to state what the late Lord Brougham was, or
attempt to enumerate his vast attainments, or measure the strength of
his colossal mind, would be a piece of intolerable presumption; but I
think I may safely say that he was an enthusiastic admirer of
photography. Years ago, in the midst of his parliamentary and other
pressing duties, whenever he could find time to enjoy the quiet of
Brougham Hall, near Penrith, his giant mind was not above indulging in
the delightful relaxation it afforded; and many a pleasant hour he used
to spend chatting with Mr. Jacob Thompson, an artist of great ability,
and also a very early amateur photographer, on the wonderful results
obtained by the new art. The late Lord Brougham began his literary
career by publishing a treatise on "Light," before photography was known
or thought to be practicable; in after life he interested himself in its
marvellous productions, and his last literary labour was also about
light. Not only did the great statesman "know a little of everything,"
he did a little in everything. The deceased lord took a lively interest
in the progress of photography during his lifetime, from its earliest
introduction to within a short period of his death; and it would have
been a graceful and fitting compliment to the memory of the great man of
law, politics, literature, and science, if the English newspapers had
embellished their memoirs of the late Lord Brougham with a photographic
portrait of his lordship. Such a thing is quite practicable, and has
been done successfully by our more enterprising confreres in Canada and
the United States. The _Montreal Weekly Herald_ of April 18th
illustrates its memoir of the late Mr. T. d'Arcy McGhee with a very
excellent carte-de-visite portrait of the lamented and unfortunate
Canadian Minister, mounted on the upper corner of the front page,
surrounded with a deep black border. What an appropriate accompaniment
such a presentation would have been to the able articles and memoirs
which appeared in the daily press on Monday, May 11th, 1868! How much
more interesting and valuable those clever biographical sketches of
great men, as they pass away to their rest, which appear in the _Daily
Telegraph_ and other daily and weekly papers, would appear if
illustrated with a photograph from life! That it can be done the
_Montreal Weekly Herald_ has recently and satisfactorily shown; and
surely there is enterprise, spirit, and wealth enough among the British
newspaper proprietors to follow the very laudable example of our
transatlantic cousins. Negatives of great men are always attainable, and
there need be no commercial difficulty between the photographer and
newspaper proprietor on the score of supply. A multiplication of
negatives or Woodbury's process, would afford all the necessary
facilities for producing the prints in large numbers.
Many new fields for the good of photography are opening up. Pathological
works have been photographically illustrated with some amount of
success. But far pleasanter fields are open to enterprising
photographers in the faithful representation of natural objects, such as
flowers, fruits, ferns, grasses, shrubs, trees, shells, seaweeds, birds,
butterflies, moths, and every variety of animal life, from the lowest
orders to the highest. I believe the time is not far distant when the
best works on all the physical sciences will be illustrated by coloured
photographs. Those very beautiful German photographs of flowers recently
introduced show most conclusively of what photography is capable as a
help to a study of the natural sciences. The flowers are not only
photographed from nature, but exquisitely coloured after the same
fountain of truth; and the sense of reality, roundness, and relief which
they convey is truly wonderful.
Hitherto the colouring of natural objects photographed from nature has
been a very difficult thing to accomplish; but now it is done, and with
a marvellous success.
The monochromatic process is also making great strides in advance. Those
very beautiful transparencies, cabinet size, of the Queen and Royal
Family are now to be seen in most of the photographic picture
shop-windows in town and country. These transparencies are the
productions of the Disderi Company, by Woodbury's photo-relief process,
and the results now obtained are really beautiful, both in effect and
colour, and sold at a very low price. But the _chef d'oeuvre_ of all
monochromatic effects has just been achieved by the triple labours of
Mr. Macnee, the artist, and Mr. Annan, the photographer, of Glasgow, and
Mr. J. W. Swan, of Newcastle. The subject in question is a work of art
in every respect. The original is a full-length portrait of Lord
Belhaven, painted by Daniel Macnee, and now in the Royal Academy
Exhibition. A photograph taken from the painting by Mr. Annan was worked
up in monochrome by the eminent artist, from which another negative was
taken by the same skilful photographer, and placed in the hands of Mr.
J. W. Swan to be printed in carbon, which the latter gentleman has done
in the most admirable manner. Altogether, the result is the most
satisfactory reproduction by photography that has ever been placed
before the public, and is less like a photograph and more like a fine
mezzotint engraving than anything I ever saw. Mr. Annan is now
publishing the work on his own responsibility, and a specimen of it can
be seen at the offices of "The Autotype Printing and Publishing Co.," 5,
Haymarket, London. Mr. Hill, of Edinburgh, is also about to publish, in
carbon, a photograph of that beautifully painted picture entitled "A
Fairy Raid," which was exhibited last year in the rooms of the Royal
Academy by Sir Noel Paton. As in the former case, Mr. Annan copied the
painting, Sir Noel worked on a print in monochrome, which was again
photographed by Mr. Annan, and the negative passed to Mr. J. W. Swan to
be printed in carbon. I understand that Poynter's celebrated picture of
"Israel in Egypt" is about to be published, in a similar manner, by the
Autotype Company. It is therefore quite evident that photography is
becoming, in reality, more and more "a foe to graphic art," and
eclipsing the lights and deepening the shadows of the _unluxy_ engraver.
Mr. McLachlan has again spoken without giving any very materially new
facts, or throwing much more light on his mysterious mode of working.
The great point is, to throw light on the concentrated solution of
nitrate of silver; and until that has been done it will be impossible
for any one to say from experience and practice that there is nothing in
the principle. Mr. McLachlan attributes a chemical property to the
action of light on the bath that has never been thought of before, and
he seems to believe it so sincerely himself, and expresses his
convictions so earnestly, that I think photographers are somewhat bound
to wait patiently till time and light will enable them to comply with
all the conditions he lays down, and make a series of careful
experiments, before they can say whether they are under obligations to
him or not. At any rate, natural justice suggests that they should not
render a foregone verdict.
_May 17th, 1868._
* * * * *
The Exhibition of National Portraits--The Tintype of America--The Spirit
of Photography in Canada--The "Wise Week," and the Total Eclipse of the
Sun.
Dear Mr. Editor,--From various causes I have been absent from your
columns as a contributor for some time, but not as a reader. The chief
reason for this was the weather, which of late has been so hot and
prostrating as to dry up both my ink and my energies. Now that the
atmosphere is more cool, moist, and pleasant, my ink and my thoughts may
flow together, and the resulting epistle may find a place on some page
of the Photographic News; if not, I shall not be angry. I know that the
world--and photography is my world--is not always mindful of its atoms.
The great and immortal Cicero discovered that even he could be absent
from Rome, and all Rome not know it. How much easier, then, for your
readers not to discover my absence from your pages. But my inability to
write and attend to other duties entailed more serious losses to myself.
Amongst others I missed seeing the Royal Academy Exhibition, but found a
compensating pleasure in going to see the Exhibition of National
Portraits at South Kensington. What a school it is for photographers!
What a variety of pose, arrangement, management of light and shade, is
to be seen in that glorious collection of Vandykes, Hogarths,
Gainsboroughs, Reynolds, Opies, Wilkies, Raeburns, Northcotes,
Lawrences, Phillips, Shees, Richmonds, Grants, and many others of the
present day! I hope many photographers have seen the collection. None
ought to have missed the opportunity. All that saw must have profited by
the sight. Portraits of great men that have been familiar to me in black
and white for years were there before me in the rich mellow colouring of
Vandyke, Reynolds, Wilkie, and Lawrence, and the mind seemed carried
back into the past while looking at the works of those great artists.
The exhibition will soon close, and all that have not seen it should
endeavour to do so at once. There may never again be seen such a
gathering together of the great of England, painted by England's
greatest portrait painters. The Manchester Art Treasures Exhibition was
a great assemblage of the glory of England, but it was not so complete,
nor so instructive, nor so comfortable to view as that now open at South
Kensington. In addition to the paintings there is a large and valuable
collection of rare engravings, both in mezzotints and in line. The
latter collection alone would make a visit highly pleasing, and, in a
sense, remunerative to every photographer. Art is beginning to take
root in the minds of those who follow photography, either professionally
or for amusement, and those exhibitions are the salt that "savoureth the
earth," which in due time will bring forth rich fruits.
The "Tintype" is now being largely practised in America, and is fitted
into an envelope or slip, carte-de-visite size. The slip is formed of
paper, with an aperture to show the picture, and a flap to fall over it
as a protector. I had some of these shown to me a short time ago. The
tintype is only another name for the ferrotype or melainotype, which is
a collodion positive picture taken on a piece of tin or iron, coated
with black japan on the front, and a varnish on the back, to prevent the
metal from acting on the bath. The carte-de-visite form of the tintype
fitted in the envelope or holder is a very good and ready way of
supplying all portraits wanted in a hurry, and its adoption might be
found very serviceable to many photographers in England. The American
examples that I have seen are very brilliant and beautiful, and, to my
mind, next in delicacy of detail and richness of colour to the long
discarded but ever beautiful Daguerreotype. I must admit, _en passant_,
that the Americans always excelled in producing fine, brilliant
Daguerreotypes, and it is much the same with them in the production of
glass positives, ferrotypes, or tintypes.
The spirit of photography in America and Canada is admirable. Mr.
Notman, of Montreal, has long been doing some excellent cabinet pictures
representing out-of-door-life, pleasures, and pastimes. Now Mr. Inglis,
of Montreal, also produces most beautiful carte-de-visite and cabinet
pictures of indoor and out-of-door scenes, such as drawing-rooms,
libraries, &c., with suitably arranged and occupied figures in the
former, and boating, bathing, and fishing parties in the latter. Some of
these pictures have recently been shown to me. They are all very fine
examples of photography. The tone and quality of some are beautiful.
Many of them are admirably arranged, and exhibit considerable knowledge
of composition; but some of them, particularly the interiors, are sadly
at fault in their chiaroscuro. They possess no dominant light, or, if
they do, it is in the wrong place, leading the eye away from the
principal object. In most cases the lights are too scattered, giving a
spotty and flickering effect to the picture, which is painful to look
at. With his out-of-door scenes Mr. Inglis is more happy, and probably,
from his antecedents, more at home. For example, the "Boating Party" is
very happily composed, embracing the double form of angular
composition--the triangle and the lozenge--and just a little more skill
or care would have made it perfect in its lines. The whole scene is well
lighted and got up. The boat, foreground of pebbles, stones, shrubs, and
trees are all real; the water is represented by tin-foil, wet black
oilcloth, or something of the kind, which reflects the forms and colours
of objects placed upon or above it. The reflections seem too sharp to be
those of water. The plan adopted by Mr. Ross, of Edinburgh, is the best.
That gentleman has a large shallow trough fitted up in his studio with
water in it.
Surely such pictures of groups of friends and families would take in
London and the provinces if people only knew where to get them. At
present I know there is not a place in London where photographic
pictures possessing such a variety and interest can be obtained. Mr.
Faulkner is the only photographer that has yet attempted to produce such
rural subjects in London, but I am not aware that he has yet introduced
"the boat" into his studio.
This is the "Wise Week," and it is to be hoped that the gathering
together of the wisdom of the world at Norwich will in some way be
beneficial to photography. You, Mr. Editor, I presume, will attend the
meetings, and I shall look forward with considerable interest to your
gleanings from the harvest of science that will this year be garnered in
the transactions of the British Association.
As I think of the date to affix to my letter, I am reminded that this is
the day of the great total eclipse, visible in India, and that several
expeditions are engaged in taking observations. The photographic
arrangements, I notice, are more than usually complete, and I most
sincerely hope that the astronomical photographers are favoured with
bright and calm weather, so that they may succeed in obtaining the best
photographic representations of the phenomenon. In this I am not
influenced by the mere photographic idea of getting a picture, but
rather with the hope that photography may be the legitimate and
honourable handmaiden to the savants, astronomers, and mathematicians in
enabling them to ascertain the constitutional condition, mode of
sustenance, and interminable length of life of the great source of all
our labours and achievements. Then would the sun write his
autobiography, and his amanuensis would be his favoured child,
photography.
_August 18th, 1868._
* * * * *
The Harvest is over, the Granaries are Full, yet Famine is in our
Midst--Photographers' Benevolent and Provident Societies--Photography
Ennobled--Revival of the Eburneum Process--The Societies and the Coming
Session--Photographic Apparatus _v._ Personal Luggage.
Dear Mr. Editor,--My quill is as restless as my wing, and, as I skim
about like the swallows, many things fall under my observation that
would otherwise not do so, some of which are noteworthy and of interest
to the photographic profession, many are not; but harvest time is
interesting to everyone, and it is of this I am going to make a few
remarks. It is always a subject of grave importance and anxiety to a
nation like ours, with a very limited area of cereal land, until it is
known whether the harvest has been abundant or otherwise. It is also
equally important that the harvest, however plentiful, should be
carefully reaped and garnered, so that famine may not fall upon the
people before another season of plenty shall come in its course. The
cereal harvest is over, and has been wonderfully abundant, in spite of
the unusually long, dry, and hot summer. The stack-yards are full, and
the granaries are teeming with plenty, and there is bread enough for all
that can afford to buy. There, that is the qualification that brings to
my mind the most serious part of this subject. Although the season has
been wonderfully fine and favourable for a rich harvest of all things,
"famine is in our midst." A cry of woe is mingled with our mirth. A
glorious summer and autumn have, on the whole, yielded a rich reward to
the labourers in the pleasant and profitable fields of photography; yet
there is want among some of the workers. In the columns of your
contemporary I observe a letter "begging alms" on behalf of a poor widow
and her little orphans. It is a case of pure charity, and far be it from
me to say to anyone, "Do not help her;" "They have no claim on the
sympathies of the photographic public;" "Neither she nor her late
husband did anything to forward the progress of the art nor advance the
interests of photographers in general." I grant the latter hypothesis,
and say, "He that giveth to the poor lendeth to the Lord." Nevertheless,
I cannot refrain from expressing my opinion that such painful appeals
should not be allowed to appear in the columns of the photographic
journals; all such private cases could and should be provided for by any
of the provident organisations so common to other trades. The subject
has been frequently mooted in your own columns, but no action has been
taken. Very recently a lady correspondent called attention to the
subject again, and now, in the pages of your contemporary, I notice an
elaborate plan is laid down as the ground-work of a Photographers'
Provident and Benevolent Society. That plan is open to some objections,
but it is certainly desirable that such a society should be formed. It
is rather late in the season for photographers to make any provision for
cases 1 and 2, as the correspondent in your contemporary suggests--this
year, at least; but I think his other plan of making a provision,
however small, for widows and orphans is highly to be commended, and, if
only carried into effect, would undoubtedly mitigate the anguish and
lessen the fear of want in the minds of many deserving women, and might
prevent the recurrence of those painful appeals to which I have just
alluded. It is just as important and imperative a duty for every man to
make some sort of provision for those dependent upon him as it is for
the husbandman to reap and carefully house his harvest. Knowing the
interest which you, Mr. Editor, personally take in this subject, I trust
that you will exert your influence, and see if it be possible to found a
society _at once_ that will grow in after years to be a monument to
photography and to the goodness and forethought of the photographers of
the present generation.