baronetcy has recently fallen to the lot of one who for years has
followed photography as a profession, taking cartes-de-visite and other
photographs in the usual business-like manner. Of all the styles of
distinction that are conferred upon men, I think baronetcies have been
subject to the greatest number of vicissitudes, and spiced with the
greatest amount of romance, from the romantic succession of Sir Robert
Innes to Sir William Don, "a poor player;" and now the photographic
profession includes among its members one of the baronets of England.
Your description of the Eburneum process, given recently in your "Visits
to Noteworthy Studios," has awakened quite a new interest in that
beautiful form of photograph, introduced a few years ago by Mr. Burgess.
Several photographers whom I know have set about producing them. The
specimens which I have seen are very beautiful as cards, but they are
particularly suitable for lockets, brooches, studs, pins, rings, &c.,
being sharp, clear, and delicate, and easily cut to fit any size or
shape.
Next month some of the London photographic societies will commence the
session of 1868-9, and it might be asked, What are their prospects? It
is to be hoped that the North London will do better than it did last
session. There was more than one _nil_ meeting. The South London will
doubtless keep up its character, and exhibit its usual vitality. The
personal interest taken in the meetings by their kind, genial, and
courteous President is almost sure to develop all the latent force of
the members. It is also to be hoped that _the_ Society will make as
brilliant a start as it did at the commencement of the session last
November. Such an exhibition as that in Conduit Street may easily be
repeated, though it may not be such a startling one.
The question raised, whether photographic apparatus be or be not
considered "personal luggage" by the railway companies, is one of very
great importance to photographers, but particularly to amateurs, for if
decided against them it will cause no end of inconvenience, vexation,
and expense by delays and extra charges. On the other hand, it must be
admitted that the view taken by the railway authorities is technically
correct. The very word "personal" shows that they mean such articles as
are really and absolutely necessary for the personal comfort and
convenience of travellers, which can only rightly include wearing
apparel, changes of linen, dressing-cases, ladies' work boxes, and
writing desks. These are absolutely indispensable for the comfort and
convenience of travellers. Photographic apparatus, and particularly
chemicals, do not come under that classification, and I think it is of
great consequence to the railway companies and their passengers to know
what should, or should not, be put into the "luggage van." I know a case
where an amateur photographer was travelling by rail with a 12 by 10
bath full of nitrate of silver solution packed among his clothes in a
box in the luggage van. The bath leaked, the solution spoiled all his
shirts, and he was driven to the shift of papering the fronts. Now,
supposing the box containing the leaky bath had stood upon someone
else's box--say a lady's--it might have run through and spoiled some
valuable dresses; at the least, it would have spoiled the appearance of
the box, to the great annoyance of the lady passenger, and the probable
claim on the company for compensation. There are always two sides to a
question, and though few men have travelled more with photographic
apparatus in the luggage van than myself, I think, in this case, the
best of the argument may be fairly ceded to the railway companies.
_September 18th, 1868._
* * * * *
"LUX GRAPHICUS" ON THE WING.
His Flight to and from the Exhibition of the Photographic Society.
Dear Mr. Editor,--On Tuesday night last I took the liberty of looking
into the rooms of the Architectural Society, to see the photographs, and
listen to the gossip of the visitors at the _conversazione_ of the
Photographic Society. To hear the complimentary remarks and the
exclamations of pleasure was as delightful to my ear as the first song
of the lark in spring.
The assemblage--not brilliant, but genial, pleasant, and happy--was as
refreshing to the eye as the first glimpse of the vernal flowers; and
the pictures hung upon the walls and screens, and laid upon the tables,
were, in more senses than one, a feast to the mind almost without alloy.
For my own part, I felt so joyful, I could not help fluttering my wings,
shaking my feathers, and flitting about from one place to another,
chirping, chatting, and pecking lovingly about this pretty thing, and at
that old friend, till long after my usual time of going to roost. And
when I did at last tear myself away and fly home, I could not help
exclaiming, Well, there never was a pleasanter evening nor a nicer
exhibition in the whole history of the Society! But I could not sleep;
I put my head under my wing, shook my feathers, and tried to settle into
the most comfortable and cosy positions, but it was no use. The pretty
landscapes and pleasing portraits I had seen shone brighter and brighter
before me; I was compelled to mentally review them; and here follows the
result of my incubations. My first thoughts were to work the pleasures
of the evening by a kind of rule-of-three process, by considering the
value of the landscapes and portraits exhibited, to arrive at the worth
of the exhibition; but not so much in a money point of view, as in the
merits of the works, and their probable influences on the workers.
Taking the landscape portion of the exhibition as first in the order
into which I had mentally catalogued the pictures, it was an easy and
delightful thing to skim over such a vast extent of this world's surface
that evening. To journey to and from the glens of Scotland, the dales of
England and Wales, the lakes of Ireland, the mountains of the Tyrol, to
Abyssinia and the famous heights of Magdala, was but the work of a few
minutes, thanks to the purveyors of that mental banquet. But to do full
justice to the exhibitors I must endeavour to enumerate their principal
works, and comment thereon with the utmost impartiality. Most
unquestionably the gems of the landscape portion of the exhibition were
eight exquisite little pictures by Mr. Russell Manners Gordon, affording
unmistakable proof of what the gum-gallico dry process is capable of
yielding in his hands. It is almost, if not quite, equal to the wet
process for detail and delicacy. This is particularly noticeable in the
view of Carnarvon Castle. Indeed, Mr. Bedford's picture of the same
subject--which, I presume, is by the wet process--on the other side of
the screen, contrasts rather unfavourably with it. Mr. Gordon's
selection of his point of sight, and general treatment of that subject
alone, are unmistakable proofs of his refined taste and feeling for the
art capabilities of landscape photography. The wet collodion pictures by
Mr. Gordon are also beautiful examples of the art. His cottages with
sheep browsing in the foreground, which is an instantaneous picture, is
remarkable for its beauty and arrangement. These pictures are
beautifully printed, and possess a tone which harmonizes charmingly with
the subjects. Amongst the other landscape photographers Mr. England and
Mr. Bedford stand unrivalled in their peculiar branches. The views in
the Tyrol, lately taken by Mr. England, are so excellent that they
cannot but add to that gentleman's high reputation.
Mr. Bedford's views are also quite equal, if not superior, to his
previously-exhibited works. Some pretty views of the Lakes of Killarney
by Mr. Archibald Irvine were well worthy of notice. Mr. F. Beasley,
Junr., exhibited some very excellent examples of the Fothergill process;
some printed in silver, and others in carbon, from the same negatives. I
think the carbon prints were superior in colour, but the silver prints
possess most detail and depth. Views of Wimbledon and other places by
Mr. Vernon Heath were also good examples of that gentleman's
photography. Some beautiful cloud effects by Messrs. Robinson and
Cherrill, of Tunbridge Wells, and Mr. Fox, of Brighton, attracted
considerable attention, and elicited great praise. The large composition
picture, "Returning Home," by Mr. Robinson, was greatly admired by
nearly everyone that looked at it. One or two ill-natured or ignorant
remarks were made about that picture, but I candidly think it is the
very best picture that Mr. Robinson has produced. The sunshine on the
one side, and the rain storm sweeping over the other, are both cleverly
and artistically managed. I am sorry I cannot say the same of the group
of children which hung near the latter. The group, though perfect in its
photographic details and tone, is too suggestive of scissors and paste
to be a good picture, in my estimation.
Mr. Wardley's large Taupenot pictures were very excellent. The very
interesting pictures of Abyssinia by the 10th Company of Engineers were
very attractive. Groups of the captives--political, religious, and
artisan, with their families--and the officers of the Expedition, formed
interesting pictures. The views of Magdala, Theodore's house, the
mushroom fortifications, and other flimsy defences, as revealed by the
truth-telling camera, seemed to lessen considerably the glory of the
capture of Magdala.
Having dismissed the landscape portion of the exhibition without
mentioning all the many excellent contributions thereto, I next turn my
thoughts again to the contributions of portraits. The examples of that
branch of photography were nearly all of first-rate excellence, a large
number of them being _a la Salomon_, M. Adam-Salomon himself
contributing no less than fifteen. With one or two remarkable
exceptions, these pictures were not equal to those exhibited last year,
and a general feeling prevailed that they were neither his later works,
nor the best of his former; still, they were a very effective display,
and attracted great and deserved attention. As I have, on a former
occasion, expressed my opinion on the great excellence of M. Salomon's
works, I shall not comment further thereon at present, but proceed to
notice those which most nearly approached them in photographic
and artistic essentials. Undoubtedly Mr. Valentine Blanchard's
contributions, both in number and quality, come nearer to M. Salomon's
works than any other contributor's. Mr. Blanchard exhibited ten
portraits _a la Salomon_, some of which are quite equal to the French
artist's best works, without the elaborate working-up which the latter
exhibit. Mr. Blanchard has not been at all times fortunate in his
sitters, which is very much to be regretted, for we all know how much a
beautiful subject helps a good photograph. Hitherto, Mr. Blanchard has
been an exhibitor chiefly as a landscape and figure-study photographer.
Now that he has taken more kindly to portraiture, and exhibits such
capabilities for its successful practice, I hope he will find it
sufficiently remunerative to induce him to be a steady and persevering
disciple of M. Salomon. Messrs. Robinson and Cherrill also exhibited two
beautiful and Salomon-like portraits: one of M. Salomon himself, and one
of Mr. Hain Friswell; the latter, I think, is decidedly the best. Mr.
Mayland, of Cambridge, sent six very excellent portraits in Salomon's
style, all very good but one; a gentleman in a velvet coat was
particularly successful.
The pictures exhibited by Mr. Briggs, of Leamington, though extremely
forcible and beautiful, were not exactly an imitation of the style of M.
Salomon.
Mr. Leake, of Cornhill, had a frame containing six very capital
portraits in the style of the eminent French photographer, but a little
overdone in after-touching--too much elaborated. In this respect he far
outdid his great prototype. Messrs. Fradelle and Leach also exhibited a
number of whole-plate pictures _a la Salomon_, which were very good
indeed. Messrs. Slingsby, Burgess, Ashdown, Dunmore, and S. Fry, were
also exhibitors of the same style of portraits, 10 by 8 size; but it is
a pity the latter did himself the injustice of exhibiting so many, for
there was only one--an old gentleman with a grey beard--that was really
worthy of him. Never did any man's joke recoil more forcibly on himself
than that of Mr. Fry's. The faces of some of his female portraits--one
in particular--were, in my estimation, as flat, white, and shadowless as
a piece or knob of sal-ammoniac itself; but I must say that the portrait
of the gentleman above referred to was all that could be desired as an
artistic photograph.
Amongst the cabinet pictures exhibited by English photographers, I think
those by Mr. Hubbard were decidedly the finest. One entitled "The
Toilet," and another of a lady seated at a window, which might be named
"A Sultry Day in Town," are charmingly artistic photographs. A
composition picture by the same artist was also very skilfully treated;
indeed, it was mistaken by many to be a copy of a picture, and might
easily have been taken for a copy of a painting by T. Faed. Mr. Briggs,
Mr. Godbold (of Hastings), Mr. Gillo, Messrs. Lucas and Box, also
exhibited some beautiful cabinet pictures.
Cartes-de-visite in their ordinary form were somewhat scarce, but Dr.
Wallich, Mr. Charles Heath, Mr. Bateman, and others, made a good show of
vignettes.
Mrs. Cameron exhibited some large pictures in her peculiar style; but my
own opinion and that of others was, that she is improving.
Mr. Ernest Edwards exhibited a large collection of carbon pictures, in
black and other colours; some mounted on chromo-tinted paper, and some
excellent enlargements in carbon. The Autotype Company exhibited a fine
copy of Lord Belhaven, which I noticed some time ago; also a very
valuable and beautiful collection of copies from drawings by old
masters, all bound together, making a handsome and very interesting
collection.
Mr. Rejlander had a large collection of his art photographs on view, all
of which were clever, some facetious, and many very beautiful
conceptions.
A frame of coloured enamels by Mr. Bailey, and some in black-and-white
by Mr. Henderson and Mr. Barnes, also attracted considerable notice.
The eburneumtypes by Mr. Burgess, a coloured collodio-chloride portrait
on ivory by Mr. J. Edwards, and other collodio-chloride and opalotype
pictures, were very much admired. The cabinet vignettes by Reutlinger,
and the cabinet pictures by Wenderoth, were both in request at the
table, on account of their beauty and interest.
I must not forget to mention a very interesting series of twenty-four
stereoscopic pictures by Mr. Alfieri, illustrative of "The Potter's
Art."
Mr. Jabez Hughes and Mr. Meagher were both exhibitors of very excellent
and useful apparatus--cameras, camera-stands, and rolling-presses.
Now I think such an exhibition as I have but partially described cannot
fail to have produced a pleasing and beneficial effect on the minds of
all who saw it, and ought, on the whole, to have given infinite pleasure
and satisfaction to both exhibitors and visitors. Yet I think I heard
one or two growls of discontent about the hanging from someone whose
pictures or whose friend's pictures were not on the line; but I think I
may safely say there never was a case of hanging yet that was not
objected to by one individual at least. Even the hangers of the Royal
Academy do not escape censure, and they are supposed to have far more
skill, taste, and experience in hanging than the volunteer hangers of
the late photographic exhibition. I think, however, that the hangers
performed their duties both conscientiously and creditably, especially
when it is considered in how very short a time the work had to be done.
Anyone who felt aggrieved, and expressed himself churlishly on that
point, must surely have been in that unenviable state which the French
very adroitly designate _Etre marque au B_.
After these reflections I felt too drowsy to reflect any more, and was
barely awake enough to subscribe myself--Yours very truly.
_November 10th, 1868._
* * * * *
The Refunding of the Balance of the Goddard Fund--The Photographers'
Provident Society--A Ferocious Doorsman--The South London Dinner--A
Christmas Carol.
My Dear Sir,--Now that the balance of the Goddard Fund is returned to
the contributors, and all the trials and vexations the administration of
the fund brought upon the chief promoters are known, I think the very
best thanks of the whole body of subscribers to that fund are due to the
committee for their firm and sensible determination to provide for the
wants of the poor imbecile recipient in the manner they did, and for
their withstanding the attempt made by a person who was not in the
least related to the late Mr. Goddard to obtain possession of the
balance in hand. I, for one, a subscriber to the fund, return them my
most hearty acknowledgments, not for the money returned to me, but for
the straightforwardness of their report, and the wise and judicious
manner in which they dispensed the funds. While congratulating myself
and confreres on seeing the money not required for the relief of the
late Mr. Goddard returned to the subscribers instead of going into the
possession of a person for whom it never was intended, I think it is to
be regretted that no responsible party had foreseen that much of this
returned money would have been gladly placed to the credit of some
benevolent or provident institution connected with photography. The
whole amount, or even the half of it, would have made a very handsome
nucleus for the commencement of such a fund. I have heard several wishes
to that effect expressed during the last few days. Doubtless the
committee did the very best thing they could have done for their own
credit and the entire satisfaction of the whole of the subscribers; but
I am afraid an opportunity has been lost in the interest of the
incipient relief fund by not having had a receiver for these stray and
unexpected sums appointed. The praiseworthy act of Messrs. Ross and
Pringle, as noticed in another journal, confirms this impression.
While the subject of a photographers' provident or relief fund is before
me, I may mention that in the Report of the Friendly Societies recently
issued by Mr. Tidd Pratt, he speaks in the highest terms of those
societies which are managed by the members themselves without salaries,
and condemns the extravagance exhibited by the societies of a similar
nature which are conducted by salaried officials. Now, as it is a
friendly society pure and simple that sick or needy photographers ought
to look to for future help, in my opinion the former is the kind of
society that should be established. The movement is not to be started
as a business speculation, and there should be no salaries attached to
any of the offices. Each member joining the provident society should be
prepared to submit to the tax on his time and energies, if elected to
office, as part and parcel of the amount he subscribes for the general
welfare of the body and relief of individual members. For my part, I
object to the contemplated society taking the form of a relief fund
depending upon donations, collections at dinners, &c., for its support.
Such means for raising the necessary funds to start the society may be
allowable; but after it is commenced, every individual connected with it
should be a subscribing member, and not allowed to receive any benefit,
except under the most urgent necessities, until he has paid a certain
number of subscriptions.
During one of my peregrinations about town lately I stumbled upon a very
ferocious doorsman. My attention was suddenly arrested, while passing
one of those photographic establishments which keep a kind of two-legged
hyena prowling up and down before their doors, by hearing the somewhat
startling and cannibalistic exclamation of "I'll eat yer!" Looking
round, I saw that one of those prowling bipeds had fastened upon two
quiet-looking young gentlemen, evidently strangers in town and to town
ways, and had so importuned them to sit for "a correct likeness," until
they turned upon him, and threatened to give him in charge if he did not
desist; when he retaliated by threatening to eat them, and used a great
deal of sanguinary and abusive language as a substitute for more
palatable suavity. Is such an "outsider" or hanger-on a fit and proper
person to join a photographers' provident society, or be the recipient
of a benevolent relief fund?
The South London Photographic Society's annual dinner came off on
Saturday evening last at the "Salutation Tavern," Newgate Street.
Twenty-three members and friends, all told, sat down to dinner, and
enjoyed a thoroughly English repast. After the cloth was removed, the
pleasantest part of the evening commenced. The worthy and honoured
president, the Rev. F. F. Statham, M.A., who occupied the chair, was all
geniality, and gave the toast of the evening--"The South London
Photographic Society"--in his usually felicitous style. To Mr. Jabez
Hughes was allotted the task of proposing the next important
toast--"Photography"--which he did in the most glowing and eloquent
terms, dwelling on the rise and progress of the art in England, its
position in a competitive point of view at the Paris Exhibition,
interspersed with some racy and facetious remarks on the different modes
and kinds of rewards, from the bronze, silver, and gold medals, to the
paper certificates, which he considered the most honourable mentions
that could be given by a discerning public. From that he soared into the
higher aspirations of photographers and sublime regions of photography,
giving, with thrilling effect, a description of the social joys,
scientific pursuits, and human ameliorations to which photography
administers. Mr. Baynham Jones, being the oldest photographer present,
had the honour of replying on behalf of the art. Mr. G. Wharton Simpson,
in very appropriate terms, gave the toast, "Art Photography," which was
responded to by Mr. O. G. Rejlander. Mr. Johnson, of the Autotype
Company, had the honour of proposing the toast "Professional
Photography," which was responded to by Mr. Valentine Blanchard,
who occupied the vice-chair. Other toasts of a professional and
semi-professional character were given and responded to. The intervals
were filled up with part and instrumental music by members of the
Society. Mr. Cooper contributed greatly to the evening's enjoyment by
giving two charming performances on the cornet-a-piston, which were
admirably accompanied by Mr. Henry Cooper on the piano. Taking it all in
all, it was one of the pleasantest and merriest evenings I have ever
enjoyed at the convivial meetings of the South London Photographic
Society, and formed a delightful introduction to the season of universal
festivity which is close at hand.