he do for the purpose? Are his features suitable? Is _he_ well modelled in
all parts? Does he move easily and with grace? If he fulfils all these
conditions we take him. Then we watch his movements and seize on a
beautiful pose. Now with our clay we begin to model him. As we go on with
our work we begin to see that it is utterly impossible to record all the
facts about him with our material, and we soon find it is undesirable to
do so,—nay, pernicious. We cannot model those hundreds of fine wrinkles,
those thousands of hairs, those myriads of pores in the skin that we see
before us. What, then, must we do? We obviously _select_ some,—the most
salient, if we are wise,—and _leave out_ the rest.
All at once the fundamental distinction between Science and Art dawns upon
us. We _cannot_ record too many facts in Science; the fewer facts we
record in Art, and yet express the subject so that it cannot be better
expressed, the better. All the greatest artists have _left out_ as much as
possible. They have endeavoured to give a fine _analysis_ of the model,
and the Greeks succeeded.
It is beside the question to show how Science has exercised an injurious
influence upon certain schools in art; but that would be very easy to do.
At the same time, the best Art has been founded on scientific
principles,—that is, the physical facts have been true to nature.
To sum up, then, Art is the selection, arrangement, and recording of
certain facts, with the aim of giving æsthetic pleasure; and it differs
from Science fundamentally, in that as few facts are compatible with
complete expression are chosen, and these are arranged so as to appeal to
the emotional side of man’s nature, whereas the scientific facts appeal to
his intellectual side.
But, as in many erroneous ideas that have had currency for long, there
lurks a germ of truth, so there lurks still a leaven of Art in Science and
a leaven of Science in Art; but in each these leavenings are subordinate,
and not at the first blush appreciable. For example, in Science the facts
can be recorded or demonstrated with selection, arrangement, and lucidity;
that is, the leaven of Art in Science. Whilst in Art the physical facts of
nature must be truthfully rendered; that is, the leaven of Science in Art.
And so we see there is a relationship between Science and Art, and yet
they are as the poles asunder.
II.
We shall now endeavour to discuss briefly how our remarks apply to
photography. Any student of photographic literature is well aware that
numerous papers are constantly being published by persons who evidently
are not aware of this radical distinction between Science and Art.
The student will see it constantly advocated that every detail of a
picture should be impartially rendered with a biting accuracy, and this
_in all cases_. This biting sharpness being, as Mr. T. F. Goodall, the
landscape-painter, says, “_Quite fatal from the artistic standpoint_.” If
the rendering were always given sharply, the work would belong to the
category of topography or the _knowledge_ of places, that is _Science_. To
continue, the student will find directions for producing an _unvarying_
quality in his negatives. He will be told how negatives of low-toned
effects may be made to give prints like negatives taken in bright
sunshine; in short, he will find that these writers have a _scientific
ideal_, a sort of _standard negative_ by which to gauge all others. And if
these writers are questioned, the student will find the _standard
negative_ is one in which all detail is rendered with microscopic
sharpness, and one taken evidently in the brightest sunshine. We once
heard it seriously proposed that there should be some sort of _standard
lantern-slide_. My allotted time is too brief to give further examples.
Suffice it to say, that this unvarying _standard negative_ would be
admirable if _Nature_ were unvarying in her moods; until that comes to
pass there must be as much variety in negatives as there are in different
moods in Nature.
It is, we think, because of the confusion of the aims of Science and Art
that the majority of photographs fail either as scientific records or
works of art. It would be easy to point out how the majority are false
scientifically, and easier still to show how they are simply devoid of all
artistic qualities. They serve, however, as many have served, as
topographical records of faces, buildings, and landscapes, but often
incorrect records at that. It is curious and interesting to observe that
such work always requires a _name_. It is a photograph of _Mr. Jones_, of
_Mont Blanc_, or of the _Houses of Parliament_. On the other hand, a work
of Art really requires _no name_,—it speaks for itself. It has no burning
desire to be christened, for its aim is to give the beholder æsthetic
pleasure, and _not_ to add to his knowledge or the _Science_ of places,
i.e. geography. The work of Art, it cannot too often be repeated, appeals
to man’s emotional side; it has no wish to add to his knowledge—to his
_Science_. On the other hand, topographical works appeal to his
intellectual side; they refresh his _memory_ of absent persons or
landscapes, or they add to his _knowledge_. To anticipate criticism, I
should like to say that of course in all mental processes the intellectual
and emotional factors are inseparable, yet the one is always subordinated
to the other. The emotional is subordinate when we are solving a
mathematical problem, the intellectual is decidedly subordinate when we
are making love. Psychologists have analyzed to a remarkable extent the
intellectual phenomena, but the knowledge of the components of the
sentiments or the emotional phenomena is, as Mr. Herbert Spencer says,
“altogether vague in its outlines, and has a structure which continues
indistinct even under the most patient introspection. Dim traces of
different components may be discerned; but the limitations both of the
whole and of its parts are so faintly marked, and at the same time so
entangled, that none but very general results can be reached.”
The chief thing, then, that I would impress upon all beginners is the
necessity for beginning work with a clear distinction between the aims and
ends of Science and Art. When the art-student has acquired enough
knowledge—that is, _Science_—to express what he wishes, let him, with
jealous care, keep the scientific mental attitude, if I may so express it,
far away. On the other hand, if the student’s aim is scientific, let him
cultivate rigidly scientific methods, and not weaken himself by attempting
a compromise with Art. We in the photographic world should be either
scientists or artists; we should be aiming either to increase
knowledge,—that is, science,—or to produce works whose aim and end is to
give æsthetic pleasure. I do not imply any comparison between Science and
Art to the advantage of either one. They are both of the highest worth,
and I admire all sincere, honest, and capable workers in either branch
with impartiality. But I do not wish to see the aims and ends of the two
confused, the workers weakened thereby, and, above all, the progress of
both Science and Art hindered and delayed.
III.
Next I shall discuss briefly the ill-effects of a too sedulous study of
Science upon an Art student.
The first and, perhaps, the greatest of these ill-effects is the
_positive_ mental attitude that Science fosters. A scientist is only
concerned with stating a fact clearly and simply; he must tell the truth,
and the _whole truth_. Now, a scientific study of photography, if pushed
too far, leads, as a rule, to that state of mind which delights in a
wealth of clearly-cut detail. The scientific photographer wishes to see
the veins in a lily-leaf and the scales on a butterfly’s wing. He looks,
in fact, so closely, so microscopically, at the butterfly’s wing, that he
never sees the poetry of the life of the butterfly itself, as with buoyant
wheelings it disappears in marriage flight over the lush grass and pink
cuckoo-flowers of May.
I feel sure that this general delight in detail, brilliant sun-shiny
effect, glossy prints, &c., is chiefly due to the evolution of
photography: these tastes have been developed with the art, from the
silver plate of _Daguerre_ to the double-albumenized paper of to-day. But,
as the art develops, we find the love for gloss and detail giving way
before platinotype prints and photo-etchings.
The second great artistic evil engendered by Science, is the careless
manner in which things are expressed. The scientist seeks for truth, and
is often indifferent to its method of expression. To him, “Can you not
wait upon the lunatic?” is as the late Matthew Arnold said, as good as,
“Canst thou not minister to a mind diseased?” To the literary artist, on
the other hand, these sentences are as the poles asunder,—the one in bald
truth, the other literature. They both mean the same thing; yet what
æsthetic pleasure we get from the one, and what a dull fact is, “Can you
not wait upon the lunatic?” There are photographs and photographs; the one
giving as much pleasure as the literary sentence, the other being as dull
as the matter-of-fact question. The student with understanding will see
the fundamental and vital distinction between Science and Art as shown
even in these two short sentences.
And now, ladies and gentlemen, I do not think I can do better than finish
this section by quoting another passage from the writings of the late
Matthew Arnold.
“_Deficit una mihi symmetria prisca._—‘The antique symmetry was the one
thing wanting to me,’ said Leonardo da Vinci, and he was an Italian. I
will not presume to speak for the American, but I am sure that, in the
Englishman, the want of this admirable symmetry of the Greeks is a
thousand times more great and crying in’ any Italian. The results of the
want show themselves most glaringly, perhaps, in our architecture, but
they show themselves also in our art. _Fit details strictly combined, in
view of a large general result nobly conceived_: that is just the
beautiful _symmetria prisca_ of the Greeks, and it is just where we
English fail, where all our art fails. Striking ideas we have, and
well-executed details we have; but that high symmetry which, with
satisfying delightful effect, contains them, we seldom or never have. The
glorious beauty of the Acropolis at Athens did not arise from single fine
things stuck about on that hill, a statue here, a gateway there. No, it
arose from all things being perfectly combined for a supreme total
effect.”
CONCLUSION.
And now I must finish my remarks. I have not perhaps told you very much,
but if I have succeeded in impressing upon beginners and some others the
vital and fundamental distinction between Science and Art, something will
have been achieved. And if those students who find anything suggestive in
my paper are by it led to look upon photography in future from a new
mental attitude, something more important still will have been attained.
For, in my humble opinion, though it is apparently but a little thing I
have to tell, still its effect may be vital and far-reaching for many an
honest worker, and if I have helped a few such, my labour will have been
richly rewarded indeed.
INDEX.
Abney, Captain, F.R.S., 13, 160, 182.
——’s fog-clearing solution, 176.
—— hyposulphite of soda eliminator, 175.
—— on exposure, tables, 160.
—— “Photography with Emulsions,” 162.
—— “Treatise on Photography,” 294.
Abolition of medals, 226.
Accidents and faults in dry plates, 174.
—— to the camera, 132.
Adam Salomon, 147, 252.
—— —— on retouching, 187.
—— ——’s portraits, 279.
Æolus, 254.
Aërial perspective, 248.
After-treatment of plates, 173.
Agatharchos, 34.
Aim of “Naturalistic Photography,” 8, 29.
Albums, 220.
Alkaline developer, 170.
“Amateur” and “Professional” photographers, 12.
American art, 78.
—— wood engraving, 273.
Amount of landscape to be included in a picture, 255.
Analysis, 17.
Ancient Greek and Italian art, 33.
Anderson’s “Pictorial Arts of Japan,” 54.
Angelo, Michael, 64, 93.
Angle of view, 139.
“Antiques” for tourists, 39.
Apelles, 36.
Apollodoros, 35.
Apotheosis of Homer, 41.
Apparatus, 141, 257.
Appendix, I., 293.
—— II., 295.
Aquatint, 277.
Aristotle, 23.
Art, 17.
—— among the Philistines, 52.
—— and culture, 258.
—— and legerdemain, 255.
—— and photography, 5.
—— at home, 258.
—— blocks, 204.
—— criticism, 39.
—— division, 10.
—— principles, 114.
—— of feeling nature, 250.
“Artist photographer,” 254, 257.
Artistic, 18.
“Artistic opals,” 257.
“Art-Science,” 18.
Artificial light, 147.
Assyrian art, 32.
—— bas-reliefs, 33.
—— lion hunt, 33.
Astigmatism, 100.
Astronomical photography, 2.
Atkinson, Dr., 22.
Atmosphere, 115.
Bad wood engraving, 255.
Backgrounds, 146, 243.
Bags, 129.
Balance, 248.
Barometer of Naturalism, 95.
Baseboard of Camera, 126.
Bastien-Lepage, 90.
Beautiful poses, 256.
Bewick, 70, 273.
Binocular vision, 111.
Biting process, A second, 216.
Bitten plates, 212, 214, 216.
Blind spot, 100.
Blisters, 176.
Bloxham’s “Laboratory teaching,” 162.
Bolas' “Cantor Lectures,” 295.
Books on art, 293.
—— recommended, 294.
Boucher, 85.
Bouquet, 157.
Boy and thorn, 41.
Branches of Photography, 8.
Breadth, 18, 240, 255.
Breton, Jules, 91.
British Museum, 40.
Brown fog, 176.
Bruciani’s plaster casts, 93.
Brunn, 35.
Buddhism, 54.
Bunsen, Professor, 158.
Burnet’s “Treatise on Painting,” 238.
—— “Laws of Composition,” 238.
Burns, Robert, 24.
Busy Insanity, 258.
Byzantine art, 46.
Cadett’s studio-shutter, 146.
Callcott, 77.
Camera, 125.
——, choice of, 125, 126.
—— clamp, 129.
——, hand, 132.
——, length of, 127.
——, register test for, 132.
——, size of, 126.
——, square, 127.
——, studio, 128, 146.
Camera obscura, 66, 149.
Cameron, Mrs., 152, 164, 189.
Canova, 94.
Caracalla’s bust, 40.
Carbon printing, 191.
Catacombs, 45.
Cellini-Benvenuto, 93.
Chalk drawing, 270.
“Character” in portraiture, 252.
Charcoal drawing, 276.
Charlemagne, 47.
Chemicals, 169.
Chemical solutions, 142.
Chemistry and Photography, 2.
Chiaro-oscuro, 35, 239.
Chinese Art, 54, 58.
—— renascence, 55.
Choice of district to work in, 246.
—— —— lens, 136.
Christmas Cards, 257.
Cimabue, 49.
Classification of Exposures, 154.
Clays, 75.
“Clearness,” 259.
Cloud negatives, 197.
Cold process in platinum printing, 194.
College of Photography, 13.
Collotypes, &c., 205.
Colls, W. L., 209.
—— —— on Photogravure, 211.
Colour, 18, 108.
——, differences of, 108.
—— of Platinotype prints, 196.
—— of landscape in sunshine, 257.
Combination printing, 197, 199.
Commercial groups, 244.
Commodus' bust, 41.
Composite, photography, 137.
Composition, 237, 238, 240, 248.
Constable, 75, 227, 268.
Constable’s dicta on art, 75.
Contents of “Naturalistic Photography,” 8.
Cooke, 77.
Copper-plate printing, 210.
Copy of schedule for copyrighting, 222.
Copyright, 221.
Cordianus' bust, 40.
Corot, 85.
Correggio, 65.
Cover for developing dish, 142.
Cox, David, 73.
Creative artist, 19.
Creswell, 77.
Criticism, 29, 259.
Critics, 259.
Crome, Old, 75, 76.
Cuyp, 83.
Daguerre and the French Academy, 1.
Dallmeyer’s new long-focus lenses, 135.
Damages for infringement of copyright, 224.
Dark room and apparatus, 141.
—— ——, ventilation of, 141.
Darwin, Charles, on photographs, 278.
Daubigny, 86.
Da Vinci, 27, 64.
Dawson, A., 209.
Decoration, D'Oyleys, 264.
——, of hangings, 264.
——, wall papers, 264.
——, windows, 262.
Decorative art, 260.
—— ——, enamels, 262.
—— ——, panels and friezes, 261, 262.
—— ——, tiles, 262.
Defects in gelatine plates due to damp, 178.
De Hooghe, 75, 83.
De la Croix, 85.
De la Roche, 85.
Del Sarto, Andrea, 65.
Della Robia, 93.
Dense negatives, 177.
Deposits on the film, 178.
“Depth of focus,” 139.
Descamps, 85.
Desideratum, A great, 206.
Developing rule, A, 141, 168.
Development, 162.
—— by artificial light, 172.
——, meteorological conditions in, 167.
——, method of, 167.
——, slow, 167.
De Wint, 73.
Diagrammatic blocks and plates, 204.
Diaphragm, 138.
Direct and indirect vision, 102.
Direction of light, Law of, 102.
Dirty backs of negatives, 178.
Dishes, 142.
Dispersion of light, 99.
Dixon and Gray’s Orthochromatic Photography, 284.
Doctoring negatives, 189.
Donatello, 92.
Double-backs, 129.
Drainage rack, 142.
Drawing of photographic lenses, 118, 136.
Dull spots and pits on negatives, 179.
Dulwich Gallery, 68, 69, 70.
Duplicate plates, 173.
Durer, Albert, 23, 61.
Dutch Art, 80.
Early Christian Art, 44
Easel pictures, 35.
Eastern Art, 52.
Eder’s, Dr., Intensifier, 175.
—— ——, “Modern dry plates,” 294.
—— potash developer, 171.
—— reducer, 177.
Educated sight, 233, 238.
Edwards’s, B. J., clearing solution, 177.
—— —— orthochromatic plates, 182.
—— —— yellow screens, 182.
Egypt, Ancient, works to be studied, 31.
Egyptian art, 30.
—— artists, 32.
—— lions, 31.
Emerson on “Ventilation of the dark room,” 141.
——’s “Ammonia poisoning,” 141.
—— “An ideal photographic exhibition,” 227.
—— “Photography; a pictorial art,” 9.
—— “Pharyngitis and Photography,” 141.
Emperors' School, 46.
Engineering and Photography, 3.
English Art, 69.
—— sculpture, 94.
—— _v._ French photogravure, 209.
Enlargements, 200.
Enlarging and tonality, 201.
Enquiry into Naturalism in Art, 28.
Etching, 81, 274.
Eupompos, 36.
Evolution in Art, 61.
Exhibitions, 225.
Experiment for forming a rough rule for use of lenses, 136.
Exposure, 154.
——, method of, 154.
——, variation of, 157.
Exposures, classification of, 154.
——, lens and stop in, 157.
——, meteorological conditions in, 157.
——, no rule for, 159.
——, quick, 154, 155, 156.
Exposures, time, 155.
——, shutter, 156.
——, tables of, 160.
Expression, 252.
Fabius, 38.
Fading of prints, 192.
Failure, 257.
Falsity of photographic portraits, 255.
Fantin’s flowers, 152.
Fechner’s Law, 107.
Ferro-prussiate printing paper, 194.
Ferrous-oxalate developer, 169.
Fiddle-brown trees, 258.
Figure and landscape, 251.
Fine Art, 19.
Finish, 257.
Flare-spot, 139.
“Flat and weak” negatives, 255.
Flemish Art, 69.
Fluorescence, 100.
Focussing, 101, 148.
——, example of, 150.
——, mental attitude in, 148.
——, rule for, 119, 150.
—— the eye, 101.
Fog, 175.
Forensic medicine and photography, 4.
Forfeiture of pirated works, 224.
Fortuny, 68.
Foster’s, W. Michael, Physiology, 97.
_Fovea Centralis_, 101.
Frames, 219.
Framing, 218.
French (Modern) Art, 84.
Frilling, 176.
Fuseli, 70.
Fuzziness, 120.
Gainsborough, 70.
Gambling for medals, 227.
Ganot’s “Physics,” 134.
Gelatino-bromide paper, 192.
Gelatino-chloride paper, 192.
Geography and photography, 3.
German (Modern) Art, 61, 68.
Ghiberti, 92.
Gibson Gallery, 43.
Giotto, 49.
Girtin, 73.
Glass slabs, 143.
Glazing a studio, 145.
“Good Art,” 256.
Goodall, T. F., on colour, 18.
—— ——, on composition, 287.
—— ——, “Mere transcripts of Nature,” 26.
—— ——, on photography, 297.
Good work, 257.
Gothic Art, 48.
Greek and Græco-Roman sculpture, 39.
—— and Italian Art, 33.
—— chiaroscuro, 35.
—— coins, 42.
—— landscape art, 38.
—— painting, 34.
—— perspective, 35.
—— scene-painting, 35.
—— vases, mosaics, and stone paintings, 38.
Green fog, 176
Green plates, 252.
Greuze, 85.
Ground-glass pictures, 149.
Groups, 244.
Grown plates, 212.
Guilds, The, 48, 50.
Halation, 177.
Hamerton on Photography, 278.
Hand cameras, 132.
Hardwich and Taylor’s “Photographic Chemistry,” 294.
Harrison, 78, 79.
——'s, J., “History of Photography,” 294.
Head-rests, 146.
Heffner, 68.
Helmholtz, Professor, 103, 108, 109, 110, 111.
Henderson’s enamels, 262.
Hering’s theory, 108.
Hick’s opaque measuring-glasses, 142.
“High Art,” 20, 185.
Hints on copper-plate printing, 210.
Hints on development, 164, 165.
—— — lenses, 140.
—— — photo-etching, 210.
—— — pictorial art, 254.
—— — platinotype printing, 195.
Historical value of Assyrian bas-reliefs, 33.
History of Greek painting, 34.
Hobbema, 83.
Hodgson’s “Modern methods of book illustration,” 294.
Hogarth, 69.
Hokusai, 58.
Holbein, Hans, 63.
Homer’s bust, 41.
Hood for camera, 128.
Horizon line, 44.
Horse of Selene, 42.
Hunt’s, W., “Talks on Art,” 79, 124, 292.
Hydrokinone developer, 171.
Ideal, 20.
Idealism, 29.
Imaginative, 22.
Impression, 118, 249.
Impressionism, 22.
Impressionists, Modern, 120.
Impressions v. absolute fact, 131.
Index, 303.
Individuality, 258.
Indoor work, 243.
Industrial arts and photography, 4.
Industrial division, 11.
Ingres, 85.
Intensification, 175.
Intensity of lenses, 138.
—— —— light, 103.
Interiors, 257.
Interpreting nature, 22.
Introduction, 1.
Israels, Josef, 83.
Ivan the Terrible, 47.
Japanese Art, 54, 58.
—— ——, 1st Period, 54.
—— ——, 2nd Period, 54.
—— ——, 3rd Period, 55.
—— ——, 4th Period, 57.
—— —— at British Museum, 58.
—— —— Commissioners, 58.
Japers at photography, 259.
Jewellery, 244.
Justinian, 46.
Kano School, 56.
Kauffman, 70.
Kaulbach, 68.
Kôrin, 57.
Lamp for developing-room, 195.
——, travelling, 142.
Landscape, 245.
Landseer, 77.
—— ——’s lions, 31.
Lantern slides, 202, 203.
Law of projection, 102.
—— —— corresponding points, 102.
—— —— visible direction, 103.
Laws of composition, 237.
Lawrence, Sir Thos., 120.
Lea, Carey, Dr., 180.
Lead-pencil drawing, 270.
Le Brun, 84.
Le Conte’s, Prof., Division, 98.
Lenses, 134.
—— for special purposes, 137.
—— recommended, 135.
_L'Envoi_, 266-269.
Leslie, 77.
——’s “Life of Constable,” 293.
Lewes, G. H., 20.
Lhermitte, 91.
Libraries and Photography, 4.
Liesgang’s “Manual of Carbon Printing,” 295.
“Life” of the model, 256.
Light, 98.
Lighting of picture, 118.
Limits of art, 256.
Limpet-shell markings, 178.
“Lines,” 247.
Line Engraving, 271.
Linnell, 77.
Lithography, 271.
Little Masters, 271.
Local colour, 22.
—— development, 171.
Lömmer’s, Dr., “Optics and Light,” 294.
Lorraine, Claude, 84.
Low-Art, 22.
Ludius, 38.
Maclise, 77.
_Macula lutea_, 101.
Makart, 68.
Man and vulgarity, 254.
Marblings in negatives, 178.
Masks, 199.
Mason, 77.
Massys, Quintin, 60.
Masters, 96.
Masters of the minor arts, 289.
Matahei, 56.
Material for dresses, 244.
Measuring-glasses, 142.
Medals, Art, 226.
Mediæval Art, 47.
—— ——, glass paintings, 48.
—— ——, guilds, 48, 50.
—— ——, miniaturists, 47.
Medical and Biological Photography, 3.
Meichō, 55.
Melanthios, 36.
Merit of photographs, 254.
Metallic patches on negatives, 179.
Meteorology and Photography, 3, 157.
Meteorological conditions and development, 167.
Method of copyrighting, 221.
—— —— reproducing negatives from nature for copperplate process, 212.
Mezzotint engraving, 277.
Microscopy and Photography, 2.
Military and Naval Photography, 4.
Millet, Jean François, 44, 86, 232.
——’s dicta on art, 86.
Miniatures, 46.
Modern French School of Painting, 43, 91.
—— —— —— —— Sculptors, 94.
Modified stops, 138.
Mohammedan Art, 52.
Monarchies of Western Asia, 32.
Monochrome Painting, 276.
Morland, 70.
Mosaics, 45, 46.
Mouldings, 219.
Mountants, 218.
Mounting, 218.
Mounts, 219.
Müller, 77.
Müller’s Law, 102.
Mulready, 77.
Munkacsy, 68.
Murillo, 68.
Muybridge’s cantering horse, 42.
—— —— photographs, 161.
Mystery of Nature, 257.
Nasmyth, 77.
National Gallery, 60, 63, 65, 66, 67, 69, 73, 77, 80, 83.
Naturalism, 22.
—— in Art, 28.
—— in decorative Art, 260.
Naturalistic photography, 259.
—— work, 258.
Nature and photography, 259.
—— —— pictures, 258.
Nature and sanity, 258.
Nature of a copyright, 223.
Negative finishing, 179.
Negatives for decorative work, 262.
Nero’s bust, 40.
Newton, Sir W. J., 152.
Nicol, Dr., on sensitometer, 160.
Ni Ō, The, 54.
Nobuzané, 55.
Nude, 54.
Ōkió, 57.
On breadth and simplicity, 255.
—— copyright agreement, 221.
—— “form,” 256.
—— “going in for photography,” 255.
—— impression and fact, 118.
—— opinions on art, 258.
—— publishing, 257.
—— reproduction, 256.
—— studying photography, 256.
—— success, 257.
Optic nerves, 97.
Optics, 134.
Original Artist, 24.
Origin of retouching, 186.
Ortho-chromatic Photography, 181.
Out-door portraiture, 243.
—— work, 243.
“Outings,” 246.
Outline drawing, 269.
Over-exposure, 174.
Over-production, 169.
Palæolithic stone scratchings, 269.
Pamphilos, 36.
Paper negatives, 180.
Paris Salon, 91.
Parrhasios, 35.
Parthenon Frieze, 42.
Pausias, 36.
Pecuniary Penalties for infringing copyright, 224.
Pen and Ink drawing, 270.
Perspective, 35, 112, 239.
Perspective, four kinds of, 112.
Pertinax’s bust, 40.
Phenomena of sight and art principles deducted therefrom, 97.
Photographs as historical records, 257.
“Photographic,” 24.
—— —— haunts, 247.
—— —— Libraries, 294.
—— —— Society of Great Britain, 185, 227.
“Photographics,” Dr. Wilson’s, 144.
Photographing Clouds, 198.
Photography, 277.
—— —— and Art, 259.
—— —— a pictorial art, 269.
—— —— applied to decorative art, 261.
Photo-etching, 207.
Photo-mechanical printing processes, 204.
—— —— classification of, 204.
Pictorial Art, 230.
Picture-buyers, 53.
Pin-hole photography, 131.
“Pisanello,” 93.
Pisano, Andrea, 92.
——, Niccola, 49, 92.
——, Nino, 92.
——, Vittore, 93.
Plate-making, 163.
Plates, 163.
Plate-washer, 142.
Platinotypes, 205.
—— —— for book illustration, 205.
—— ——, framing of, 219.
—— ——, “sinking in” of, 205.
—— ——, spotting, 195.
—— ——, texture of, 195.
Platinotype Company, 195.
—— ——, new cold process, 194.
Poetry in works of art, 250.
Point of sight, 254.
Poitevin’s method of enamelling, 263.
Polygnotos, 34.
Portraits taken with rapid rectilinear lens, 137.
Portraiture, 243, 252.
—— in studio, 252.
Posthumous portraits and busts,185.
Poussin, 84.
Practical Hints, 254.
Preface, V.
Pre-Raphaelites (modern), 25.
Prettiness, 256.
Principles of studio lighting, 252.
—— of Decorative art, 261.
Printing, 191.
—— frames, 143.
—— clouds, 198.
—— papers, 191.
Prints, 191.
——, carbon, 191.
——, gelatino-chloride, 192.
——, gelatino-bromide, 192.
——, permanency of, 192.
——, platinotype, 191.
——, silver, 191.
——, tonality of, 192.
Print-sellers, 7, 81.
Pritchard’s, Baden, “Studios of Europe,” 262.
Prizes for “set subjects,” 254.
Procrastination, 255.
Prolonged and patchy fixings, 178.
Protogenes, 37.
Pseudo-scientific photographers and art, 254.
Psychological data of sight, 111.
Quality, 24, 256.
—— of greatness, 257.
Qualities of a picture, 251.
—— of good lenses, 140.
Queer judges, 227.
Raphael, 65.
Realism, 24.
Red-carbon process for decorative work, 262.
Red fog, 176.
Reflections and shadows, 256.
Reflectors, 146.
Reform in exhibitions, 227.
Registration of photographs, 223.
Rejlander, O., 199.
——, on combination printing, 199.
——, on retouching, 188.
Relative tone or value, 25.
“Rembrandt pictures,” 254.
Rembrandt’s etchings, 81.
—— paintings, 80.
Remedies for infringement of copyright, 224.
Removal of varnish from negatives, 178.
Renascence, European, 59.
Replicas, 224.
Resolution, 254.
Retouching negatives, 184.
—— ——, Adam Salomon on, 187.
—— ——, Cameron, Mrs., on, 189.
—— ——, Definition of, 184.
—— ——, Rejlander on, 188.
Retrospect of Photography, 2.
Reubens, 69.
Reynolds, Sir J., 69.
—— on rules, 241.
Rhetoricians, Roman, 39.
Rhyparographi, The, 37.
Ribera, 66.
Rising front of camera, 129.
Roller slides, 180.
Roman Art, 38.
Roscoe’s “Lessons in Elementary Chemistry,” 162.
Rousseau, 85.
Ruby glass, 141.
Sable-hair brush, 142.
Sargent, 78, 79.
Sawyer’s, J. R., “ABC of Carbon Printing,” 294.
Scales, 143.
Scene-painting, 34.
Science and Art, 295.
—— division, 11.
Scientific diagrams, 152.
—— photographic work to be reconsidered, 136.
Scratches on plates, 179.
Sculpture, 92.
Sea-air and dry plates, 178.
Sensational in nature, 256.
Sensitometer, Warneke’s, 159.
——, Dr. Vogel on, 159.
Sentiment, 25, 256.
—— and poetry, 256.
Sentimentality, 25.
Sesshiū, 56.ū
Setting up the Camera, 129.
“Sharpness,” 257.
Shijo School, 57.
Shiūbun, 55.
Sight, 7.
Size of plate, 127.
Slabs of glass, 143.
Slow development, 167.
Soga chokman, 56.
—— Jasoku, 55.
Soul, 25.
South Kensington Museum, 74, 77, 79, 93.
Spanish (modern) Art, 67.
Spherical aberration, 99.
Spiller, A., “on permanency of gelatine-bromide prints,” 192.
Spirit-Levels, 126.
Spontaneity, 257.
Spotting negatives, 189.
—— prints, 195.
Spurious pictures, 224.
Standard developer, 170.
Stansfield, 77.
Stereoscopic Slides, 202.
Stolen bits, 258.
“Stopping down,” 149.
“Stops,” 138.
St. Peter’s Statue at Rome, 45.
Studio, 144.
——, building, 144.
——, camera, 128, 146.
——, Dr. Wilson’s specifications for, 144.
—— effects, 147.
—— furniture, 145.
—— glazing, 145.
—— lighting, 147.
——, _objets d’art_, 145.
——, principles of lighting, 144, 252.
——, rule for lighting, 147.
——, top and side light, 144.
—— walls, 145.
Study of Chemistry, 162.
—— Tone, 173.
Subject of a picture, 250.
Sun and shadows, 259.
Supplementary poles, 129.
Surveying and Photography, 3.
Swing-backs, 130.
——, use of, 130.
Swiss Art, 63.
Table of contents, ix.
Taine’s “La philosophe de l’art Grec,” 43.
Teaching of Art, 294.
Technical criticism, 43.
Technique, 26, 123, 293.
—— and practice, 123.
Teniers, 69.
Terminology, 17.
Textures of printing papers, 195.
Theban-Attic School, 36.
Theon of Samos, 37.
Thirteenth Century Sketchbook, 49.
Thorwaldsen, 94.
Thumb-screws, 126.
Timanthes, 35.
Timomachos, 38.
Titian, 66.
Tonality and development, 164.
Tone, 26, 115, 248.
Topography, 258.
Torso at British Museum, 41.
Trajan’s bust, 40.
“Transcript of Nature,” 26.
Transparencies, 202.
Transparent spots in negatives, 177.
Travelling lamps, 142.
“Treatise on Painting,” 237, 238.
Treatment of model, 244.
Tripod head, 128.
Tripods, 128.
Troyon, 86.
Turbidity of media of the eye, 100.
Turner, 73.
——’s “Frosty Morning,” 74.
Tyndall, Prof., 158.
Tyndall’s “Lectures on Light,” 12, 294.
Typographic blocks, 205.
—— Etching Company, 208.
Under exposure, 174.
Undeveloped Islands, 179.
Value of a picture, 256.
Van der Velde, 83.
Vandyck, 69.
Van Eyck, The brothers, 59.
——’s portrait, 60.
Vanity, 257.
Van Ostade, 69, 82.
Varnish, Dr. Carey Lea’s, 180.
——, removal of, 178.
Varnishing a negative, 179.
Velasquez, 67.
Verestchagin, 68.
View-finder, 138.
—— -maker, 100.
Vigilance committees for plates, 163.
Vignetting, 196.
Vogel, Dr., 177.
——, on chemical action of sky, 158.
——, exposure tables, 160.
—— Warneke’s sensitometer, 159.
—— altochromatic plates, 182.
Vulgarity, 255.
Walker, F., 77.
Walker and Eastman films, 180.
Water-colours, 53, 71.
Watteau, 84.
Welford and Sturmey’s “Photographer’s Indispensable Handbook,” 295.
Wet-plate process, 163.
Whistler, J. M., 16, 78.
——, on mounts, 218.
——, “Art and Art critics,” 78.
——, “Ten o’clock,” 78.
Wilkie, 77.
Wilkinson’s “Ancient Egyptians,” 32.
Willis, W., Jun., 193.
Wilson, 69.
Wilson’s, Dr. E., “Burnet’s Treatise on Painting,” 237, 294.
Wilson’s, Dr. E., “Photographics,” 144.
Woermann, Dr., 28.
Woltmann, Dr., 28.
Wood-engraving, 71, 272.
Work and faith, 255.
“Working up” in oils, &c., 184.
Wu-Tao-Tsz, 59.
“Year’s Art for 1887,” 223.
Year-book of Photography and Photo News Almanac, 1885-87, 141.
—— —— and British Journal Almanac, 1887, 141.
Yellow fog, 176.
Yellow stains on negative, 177.
Young Satyr at British Museum, 41.
Zeuxis, 35.
THE END.
LONDON:
PRINTED BY GILBERT AND RIVINGTON, LIMITED,
ST. JOHN'S HOUSE, CLERKENWELL ROAD.
“_If any one wants to convert an artist to photography, he should present
him with some of Emerson’s pictures; but, whether with this object or
otherwise, we earnestly recommend every photographer to obtain, and to
study, Emerson’s books._”—_Mr. W. J. Harrison in “The International Annual
of Anthony’s Photographic Bulletin” for 1888._
------------------------------------
DR. EMERSON'S WORKS.
=Life and Landscape Series.=
Collectors and Librarians should take notice that all Dr. Emerson’s
previously published Works are strictly limited to the numbers herein
advertised. _After the completion of the advertised editions all plates
and blocks will be at once destroyed._ Intending purchasers should
therefore complete their sets as soon as possible, before the works become
scarce and advance in price. These works can be obtained through any
bookseller or from the publishers direct.
------------------------------------
Separate Plate.
“GATHERING WATER-LILIES.”
(_Copyright._)
AUTOGRAVURE.
Size of Plate, 14¼ × 11 inches. India Proofs, mounted on plate paper, size
23½ × 17, limited to 150 copies. Price 10_s._ 6_d._ each.
Prints on plate paper, size 23½ × 17 inches, 7_s._ 6_d._ each. Limited to
1000 copies.
_To be obtained of the_ AUTOTYPE COMPANY, _74, New Oxford Street, London_.
-------------------------
LIFE AND LANDSCAPE ON THE NORFOLK
BROADS.
By P. H. EMERSON, B.A., M.B. (Cantab.), and T. F. GOODALL.
Illustrated with Forty Plates from Nature, mounted on plate paper, size 17
× 12 inches. _Edition de luxe_, limited to 100 copies, bound in vellum,
with black and gold decorations, plates mounted on India paper, and text
printed on finest white paper. Price £10 10_s._ Ordinary Edition,
handsomely bound in cloth, plates mounted on finest plate paper, and text
printed on fine white paper, limited to 750 copies. Price £6 6_s._
This Work contains a valuable Essay on “Landscape,” including Photography,
by the landscape painter T. F. Goodall, and should be studied by all
Photographers.
(SAMPSON LOW & CO., Ld., St. Dunstan’s House, Fetter Lane, E.C.)
=Opinions of the Press.=
“We feel grateful to Dr. Emerson and Mr. Goodall for a most fascinating
volume. There is something singularly characteristic and attractive in the
scenery of the Norfolk Broads, as there is much that is peculiar and
picturesque in the manners of the primitive population.... The series of
illustrations seem to embrace and exhaust the whole range of local
subjects. We are taken through wildernesses of wood and water, through
sedgy solitudes, haunted by shy waterfowl, along winding river-reaches
with wherries under sail. We are landed in quaint nooks of that watery
world, where the tumble-down cottage of the fisherman or the fowler hangs
over the rushy creek; we see the lonely farmhouse, with its sedge-thatched
and straggling outbuildings, standing somewhat apart between marsh and
cloudland; or the sequestered hamlet huddled round the little church, with
the rude spire which is a landmark for leagues along the water-ways. We
are shown the amphibious people following their multifarious occupations,
with their farming, and their fishing, and their strange fashions of
fishing.... The set of landscapes which close the volume are excellent as
works of art, and they give an admirable idea of the somewhat melancholy
charms of the scenery, when it does not happen to be lighted up by
brilliant sunshine.”—_The Times._
“Good wine needs no bush, and the Norfolk scenery needs no praise; but one
may blamelessly sing in praise of good wine and the singing be but good,
and write of or photograph Norfolk meritoriously. This Messrs. Emerson and
Goodall have done, and done well, for which they deserve much
thanks.”—_Saturday Review._
“The life depicted in this charming series of photographs is still
redolent of the past. The wide expanse of flowery pasture-land, the smooth
and pellucid waters, the picturesque craft, and the hardy good-humoured
Broadsmen with their nets and meaks, are admirably represented, while the
descriptive letterpress will recall many of his own experiences to the
reader familiar with East Anglian waters.”—_Morning Post._
“Dr. Emerson has in this work applied the art of photography in so
triumphant a manner, that the fitful breezes are clearly caught on the
water, and seen playing amongst the heads of the reeds.... We can vouch
for their wonderful fidelity to Nature. Nothing like it has ever been
published.”—_The Field._
“‘Life and Landscape on the Norfolk Broads’ is a book of unique artistic
interest.... The prevailing tone of the pictures is restful and subdued.
There is much of quiet cloudy sky and long evening light. And the general
impression left by the illustrations, even when representing the
characteristic industries of the Norfolk work-a-day world, is singularly
free from anything approaching to hurry and turmoil. The claims of
photography to rank among the true means of artistic production were never
better exhibited than in this series of studies.... They leave no possible
doubt of Dr. Emerson’s manipulatory skill, or of the tasteful
discrimination of the fellow art-workers.”—_The Globe._
“‘Life and Landscape on the Norfolk Broads’ is the name of a really
beautiful book.... The text is descriptive, and pleasantly descriptive, of
the scenes reproduced from nature.... We have seldom, perhaps never, seen
such successful studies of landscape made by any mechanical
process....”—_Daily News._
“It is enough to know that they are exquisitely beautiful. It has
sometimes been contended that photography is not art. That view has had to
be modified. It has been shown that in the hands of artists photography
can be used with admirable effect. If proof of this be required, it will
be found in this volume. There is nothing of the wooden stiffness of the
old photographs about the pictures.... Some of them might be reproductions
in monochrome of Corot’s pictures. Light and shade are exquisitely
managed. Every picture is arranged with the truest taste.... Then all the
plates are redolent of the spirit of the scene.”—_Scotsman._
“The volume of ‘Plates from Nature’ which Messrs. Emerson and Goodall have
just published to illustrate ‘Life and Landscape on the Norfolk Broads’ is
an extraordinary achievement in photography.... Messrs. Emerson and
Goodall have now taken them up, and mirrored their river highways and
their shy retreats alike with a uniform success, which must have been the
result of extraordinary skill and patience.... The peasants and watermen
gave, it is clear, much information about life on the Broads, which the
authors have occasionally worked up into very interesting
letterpress.”—_Pall Mall Gazette._
“That beautiful series of forty plates, with their accompanying
letterpress, illustrating ‘Life and Landscape on the Norfolk Broads,’ are
an unanswerable refutation of those who say there is no art in
photography. Mr. P. H. Emerson, B.A., and T. F. Goodall have been round
the fens with camera and note-book to some purpose.... There is every
quality in many of them of thoroughly good pictures.... No episode or
incident seems to be inaccessible to these skilful artists.”—_Daily
Telegraph._
“They have studied the Broads in all seasons and in all aspects, in the
full light of the cloudless summer mornings, and in the autumn evenings
when the light grows dim, and the result is forty plates in platinotype,
of great variety, of singular interest, and of remarkable beauty.... Both
the authors of the illustrative text are accomplished writers, and their
articles are of unusual merit.”—_The School Board Chronicle._
“‘Life and Landscape on the Norfolk Broads’ is an epoch-making book
because such perfection of photography, such perfection of reproductive
processes, and such perfection of artistic feeling have never before been
brought together.”—_Amateur Photographer._
“Now and then in the past we have seen occasional photographs such as Dr.
Emerson now presents, but to him is due the credit of endeavouring to form
a real and truthful school of photographic representation.”—_Photographic
News._
“Thus we have fishermen and women engaged in all the phases of labour
which the water-wastes of Norfolk afford, and all happily unconscious that
they are standing for their portraits—none of them staring into the camera
in ordinary photographic fashion, but all pursuing their avocations in an
unaffected and natural manner. This is a rare excellence, which is
deserving of all praise, and the value of the plates as truthful
illustrations of the ordinary work and demeanour of the people is greatly
enhanced by the judgment and skill manifested in this particular.... The
letterpress which accompanies the plates is not the least entertaining
part of the book.”—_Manchester Guardian._
PICTURES FROM LIFE IN FIELD AND FEN.
By P. H. EMERSON, B.A., M.B. (Cantab.).
Being Twenty Plates in Photogravure reproduced from Dr. Emerson’s Original
Negatives by Messrs. Dawson & Co., Boussod, Valadon & Co., Walker &
Boutall, and the Autotype Co., together with an Introductory Essay on
Photography and Pictorial Art. The Plates are enclosed in a handsome
Portfolio. _Edition de luxe_, limited to 50 numbered copies, Plates on
India paper, size 20 × 16 inches. Price £5 5_s._ Ordinary Edition, limited
to 550 copies, with Plates on fine plate paper, same size. Price £3 3_s._
N.B.—The Author reserves the right of publishing separately, _on plain
paper_, any one of these Plates until the edition is completed, after that
all plates will be destroyed.
(GEO. BELL & SON, York Street, Covent Garden, W.C.)
=Opinions of the Press.=
“His compositions remind us more of paintings than of any mechanical
reproductions of Nature. ‘Sunrise at Sea,’ 'The Barley Sele,‘ 'The
Faggot-Cutters,’ 'At Plough,‘ 'A Winter’s Morning,’ and ‘The Mangold
Harvest,’ are all well chosen and cleverly arranged compositions, and they
show us that it is by no means so impossible to combine in photography the
human figure and natural landscape, and to tell a simple pictorial story,
as is commonly believed. We congratulate Mr. Emerson on this achievement;
his work, at all events, deserves that praise which is due to those who
try to raise the art to which they are devoted, and to carry it a step
farther than is usually considered necessary. It is something to have
carried photography a step farther in the direction of art, and Mr.
Emerson is fairly entitled to claim this praise.”—_Spectator._
“He has spoken, as well as taken, twenty original negatives, and has done
both to good purpose. A man must have penetrated into the inner circle of
the lives of our East Anglian peasantry before he could have the chance of
witnessing some of the scenes which he so sympathetically represents....
Many will look at the beautiful series of plates in photogravure, and be
charmed with the skill with which they have been manipulated. We find our
highest pleasure in approving the carefulness with which the real types
have been selected and the ‘environment’ made appropriate.”—_The Field._
“Dr. Emerson’s very handsome folio of twenty plates of varied subjects,
mostly found in the above county, is useful as showing what care in
grouping, and tact and judgment in selecting points of view, will do
towards producing effective pictures when the photographer combines the
qualities referred to.”—_Artist’s Record._
“Dr. Emerson ... has been the teacher of a new school of art photography
and he has now a large following, many of whom are endeavouring to do work
as good and true to the ‘school’ as the examples that are before us.... As
a source of study for amateur photographers and as a drawing-room book we
highly recommend ‘Life in Field and Fen’ to all our readers. As specimens
of reproductions of photographs the plates are beyond praise, and the book
is beautifully printed and got up in a most artistic manner.”—_Amateur
Photographer._
“How far photography can go is well shown in this carefully prepared
defence of it as an art.”—_Athenæum._
“When we say that Dr. Emerson has so used his camera as to truly represent
Nature, we say the highest.... Having with rare judgment steered clear of
doubtful and, to the camera, impossible subjects, Dr. Emerson has given us
some delightful photographic pictures, which not only represent, but also
interpret Nature.... Dr. Emerson evidently intends to form a school in
photography, and has resolved to show photography at its
best.”—_Photographic News._
“Dr. Emerson, the producer of this fine portfolio of photogravures,
represents to some extent a new effort to get home once more to Nature,
and he enters into the battle as a photographer.... His seascapes are
exquisite.... ‘A Suffolk Dyke’ (a charming study of river and Suffolk fen)
and ‘Breydon Water,’ sea-fog coming up (a sweet picture, full of all the
feeling of the place).... The work is of a very choice character.”—_School
Board Chronicle._
“Exquisite photographs exquisitely reproduced.”—_Pall Mall Gazette._
“They are in themselves of artistic merit as regards grouping and
selection. Some of them, such as ‘The Poacher’ and the ‘Dame’s School,’
are distinctly dramatic, and they are produced with much care and nicety
by the automatic etching process.”—_Daily Telegraph._
“It is marvellous how completely Dr. Emerson appears to have mastered the
difficulties which have attended the use of the camera. No painter could
have produced anything more charmingly true to Nature, more suggestive of
real life and interest, than many of the pictures in this volume. They are
admirably taken, with a carefulness in regard to light and shade that has
rarely been approached.”—_The Scotsman._
------------------------------------------------------------------------
=Separate Plate.=
THE HAYSEL.
(_Copyright._)
PHOTOGRAVURE.
Size of Plate, 22½ × 17½ inches, taken direct.
India Prints on paper, 34 × 26 inches, limited to 100 copies. Price 15_s._
a copy.
Prints on fine plate paper, size 34 × 26, limited to 400 copies. Price
10_s._ a copy.
After the advertised number has been pulled, the plate will be destroyed.
_Copies to be obtained of the_ TYPOGRAPHIC ETCHING COMPANY, _3, Ludgate
Circus Buildings, E. C._
=Opinions of the Press.=
“We have received ... a very beautiful reproduction of a picture by P. H.
Emerson, which is a triumph both for photographer and process.... There is
much poetical feeling in the grouping.... The general tone of the picture
is a subdued red, and gives one the idea of summer twilight.”—_The
Camera._
“We have here a magnificent plate.”—_Photographic News._
“From the Typographic Etching Company we have a reproduction of a
landscape by P. H. Emerson ... by a process ... possessing decided
individuality and capable of effect of light and atmosphere which the
present example shows may be suggestive and pleasing. Here the figures of
the labourers and the laden wain are realized with considerable fidelity
to the conditions of light and air that constitute a vague glimmering
environment. The charm of tranquillity that belongs to mild diffused light
and spacious windless atmosphere can scarcely have suffered by translation
in this instance.”—_Saturday Review._
“Whether in composition or general treatment it is a picture of which the
artist may justly feel proud.”—_British Journal of Photography._
“We have received a large plate of a beautiful meadow scene also
photographed by Mr. Emerson. It is indeed a June idyl of the marshes, with
the women in picturesque attire piling upon a hay waggon the sweet-scented
grasses for transport to the neighbouring stackyard.”—_Scotsman._
“It is most certainly a splendid production, though its beauties do not
dawn upon one at the first glance, yet after a little contemplation we
must confess that it is one of the best examples of photogravure we have
ever seen.”—_Photographers' World._
------------------------------------
IDYLS OF THE NORFOLK BROADS,
A Series of Twelve Plates, depicting Pastoral Life in East Anglia,
reproduced in Autogravure from Original Negatives, with accompanying
descriptive Notes, by the Author, P. H. EMERSON, B.A., M.B. (Cantab.).
Numbered Proofs printed on India and Plate paper, outside size 17 × 13
inches, in gold-lettered portfolio. Price £1 11_s._ 6_d._
The issue of these proofs is limited to 150.
Prints on Plate paper, outside size 17 × 13 inches, in lettered portfolio.
Price £1 1_s._
The issue of these Prints is limited to 600 copies.
(AUTOTYPE CO., 74, New Oxford Street, London, W.)
=Press Notices.=
“It contains a dozen exquisite studies of the Broads and their borders,
reproduced by their well-known delicate process of autogravure. These
pictures are selected with true artistic feeling, and in almost every case
they have ‘composed’ as perfectly as though they were arranged at will and
not by Nature. There is but one word which fitly indicates their merit,
and that is one borrowed from their title—idyllic.”—_Land and Water._
“In a handsome, delicate portfolio, in white and gold, in choice and
luxurious form, are presented a dozen deeply mounted autogravure plates,
on India paper, from photographic negatives. They are loving studies of
beloved aspects and incidents in the land of the famous Broads, in every
season of the year and in various phases of the quiet life of that
country. Mr. Emerson’s text, printed on fine old English rough quarto
paper, poetically descriptive of the country and of the scenes of the
pictures, makes beautiful bits of writing.”—_School Board Chronicle._
“In ‘Idyls of the Norfolk Broads’ Mr. P. H. Emerson still further adds to
our knowledge of the pastoral life and landscape of the English Fens. He
is in love with the country—he calls it an earthly paradise; and never did
lover sing the praises of his mistress with more enthusiasm than does Mr.
Emerson the distinctive beauties of this land of mists and marshes and
sweet-scented meadows, with its industrious and homely people.... The
scenes have been selected with an artist’s eye, and are reproduced in
really a delightful manner—two especially are very pleasing—‘Flowers of
the Mere,’ in which we have the head of a charming little village maiden,
and ‘A Grey Day Pastoral,’ the silvery tones of which have at least been
suggested in black and white. Accompanying each plate is a concise,
well-written description of the scenery depicted.”—_Scotsman._
“The present volume of proofs on India paper, reproducing original
negatives by the autotype process, presents some of the most charming and
characteristic types of East Anglian life and scenery.”—_Daily Telegraph._
“That Mr. Emerson is an enthusiastic lover of the Norfolk Broads is very
evident. To him East Norfolk is an earthly paradise, replete with all the
elements that conduce to poetry and art. Of these the former finds an
outcome in the descriptive letterpress, and the latter in twelve
photographs, which illustrate one or other phases of life or nature in
these broads....
“These pictures are, in most cases, full of feeling. In technical merit
‘The Windmill’ excels. It is a very charming little picture, about four
inches square, representing a windmill standing close by a stream, boats
lying at repose alongside. The engraving, printing, and general get-up are
of a high order of merit.”—_British Journal of Photography._
“Mr. Emerson gives a poetic account, almost with the loving fervour of
Virgil, of the beauties that he so much feels.... Altogether Mr. Emerson
has in this last series done an excellent thing, and should the time come
when photographers in general do similarly, artists will not speak of
photography as they very often do at present.”—_Photographic News._
“On the whole, the series is representative of the district of which Mr.
Emerson writes with the knowledge that comes of enthusiastic study. ‘The
Mill,’ ‘The Haysel’ and the marshy pasture. No. 3, are charming pictures.
‘A Grey Day Pastoral’ is a pleasing example of the cool, moist, and
luminous effect of mild diffused light under a thin veiled sky. Mr.
Emerson’s text is pleasant reading.”—_Saturday Review._
“Mr. Emerson is well known as the producer of some of our most artistic
photographs and these ‘Idyls’ cannot fail to increase his reputation....
Each one is a delightful study.... The composition in each case is
admirable, and they are printed in a manner which shows advance in
photographic art.”—_Artist._
“This is truly a book for the drawing-room table. The introductory matter,
as well as the descriptive text, give proof that Mr. Emerson is as
successful a worker with pen as with sun-pencil, for the matter is full of
poetic touches which only a true lover of Nature would be capable of, and
which few could express in such a charming manner.”—_The Camera._
------------------------------------
PICTURES OF EAST ANGLIAN LIFE.
Illustrated with Thirty-two Photogravures and Fifteen smaller
Illustrations. The text, divided into twenty-six chapters, treats of the
East Anglian peasantry, and is full of interesting information of the
habits and customs of the peasantry and fisherfolk, of their ghost
stories, witchcraft, and of natural history, poaching, &c.
The _Edition de luxe_, size 20 × 16 inches, is handsomely bound in vellum,
with green morocco back, and black and gold decorations. The text is
printed on best English hand-made paper; the small Illustrations, as well
as the larger ones, are printed on India. This sumptuous Edition is
limited to 75 numbered copies. Price £7 7_s._ a copy.
The Ordinary Edition is strongly bound in cloth and leather. The Plates
are printed on best plate paper, and the text is printed on best white
paper. This Edition is strictly limited to 500 copies. Price £5 5_s._ a
copy.
(SAMPSON LOW & CO., Ld., St. Dunstan’s House, Fetter Lane, E.C.)
=Press Opinions.=
“It is a monograph, pictorial and literary, on the Suffolk peasantry and
fisherfolk—a natural history of one of the most interesting of English
race-types.... Hedger and ploughman, fisher and boor, as they are pictured
in these exquisite engravings, they have a not too remote resemblance to
the melancholy peasant of Millet.... The author has something of his eye
for the bovine-human type, for the fine artistic gloom of life and mind of
the fields.”—_Daily News_ (Leader).
“After a hasty glance at Mr. P. H. Emerson’s handsome large quarto volume
... one is disposed to characterize it as the prose of Dr. Jessop’s
‘Arcady.’ On better acquaintance, we see that there is in Mr. Emerson’s
book also a great deal of the poetry of real life. We ... claim that in
ordinary village ways as sketched by Mr. Emerson, and in village
character, hard and uninviting as it seems to the outsider, there is
poetry' enough.... He has plenty of quiet humour.... Of some of the
plates, which form such a feature in this volume, it is impossible to
speak too highly.”—_The Graphic._
“It might almost be said to be descriptive by anecdote, of which the
author seems to have a rare store, on every aspect of the subject with
which he deals. His book is undoubtedly ... ‘a contribution to a natural
history of the English peasantry and fisherfolk.’... In this series of
East Anglian books Mr. Emerson has distinctly elevated landscape
photography. His scenes are selected with the eye of a true artist.... To
a certain extent Mr. Emerson may be said in these pictures to have done
for the peasantry of East Anglia what Jean François Millet did for those
of his own country.”—_Scotsman._
“In ‘A Stiff Pull’ and ‘In the Barley Harvest,’ both capital subjects,
capitally treated, he has been successful enough to make us wish that
Millet had painted in Suffolk instead of at and about Chailly-en-Bière. In
another plate, ‘The Farm by the Broad,’ he contrives to give us something
of the effect of ... a Corot. In ... ‘Going Out’ and ... ‘Coming Ashore’
he reminds us a little of Mesdag; in other plates ... of the followers of
Bastien Le Page.”—_Saturday Review._
“The volume may be taken, therefore, as representing pretty completely the
present state of the art of photo-engraving in England.... Mr. Emerson is
to be congratulated on having brought distant East Anglia and its people
before us with a completeness that has not been attempted with any other
considerable portion of the British Islands.”—_Manchester Guardian._
“The tales and interesting folk-lore are simply and pleasantly told. The
philologist will find in these pages many fresh words and expressions; the
artist and naturalist many curious and novel observations.... The book is
a valuable addition to the natural history of the English peasantry and
fisherfolk.”—_Daily Telegraph._
“Dr. Emerson’s new book is one which no county family’s library in Suffolk
should be without.... Dr. Emerson has studied the Suffolk peasantry with
conscientious thoroughness and approached his subject with sincere
sympathy for the hardness of their life.”—_Pall Mall Gazette._
“All who have felt the peculiar attraction of East Anglian scenery are
grateful to Dr. P. H. Emerson for his splendid photogravures.... This
splendidly got-up folio is an important work, reflecting high credit on
all concerned in its production. We hope Dr. Emerson will not allow his
camera to lie idle.... Dr. Emerson has been a close observer of their
character and intelligence, and has much that is curious to
say.”—_Westminster Review._
“We have, in short, a delightful history of the inner life of the Norfolk
and Suffolk peasant, and of the things dear to him, illustrated by such a
series of truthful nature-pictures as is approximated to in no other work
of which we know, unless in Dr. Emerson’s earlier series.”—_Photographic
News._
“Mr. P. H. Emerson has produced a really valuable book. His text,
descriptive of the life, superstitions, and character of Suffolk peasantry
and fisherfolk, their stories of the land and stories of the sea, are all
of the greatest interest, and in many cases have the merit due to original
inquiry and research.... Mr. Emerson, one of the foremost, and in some
respects one of the most successful, of living photographers, has
illustrated his large work with thirty-two photogravures ... the full page
plates are often of the highest merit. ‘The Clay Mill,’ and especially
‘The Haymaker with Rake,’ are so good in tone that they almost suggest the
work of Millet. ‘Where winds the Dike,’ reminds the spectator of
Corot.”—_Magazine of Art._
“This book is handsomely got up, well-bound, finely printed, and copiously
illustrated.... His text is thoroughly well worth reading on account of
... its sardonic sense of humour, keen zest for the grotesque
provincialisms of the people of out-of-the-way districts, quick ear for
laughable oddities of pronunciation, quick eyes for old-world customs and
whimsicalities, and deep sympathy with the sufferings of the poor and
helpless.... There are, too, many quaint anecdotes.”—_Athenæum._
“Dr. Emerson gives us not only a mass of valuable and interesting
letterpress, but a collection of very remarkable photo-engravings. By no
one has photography been more diligently and more successfully applied to
illustrate not country scenes only, but country life.... His pictures
never look like compositions—indeed, he is as successful with some of his
groups as with mere landscapes.... The letterpress ... proving on every
page that he has not only lived among the people whom he describes, but
that he is quite in touch with them.... Dr. Emerson is a keen observer of
men as well as of nature.... He is for the most part thoroughly
reasonable.... I am grateful to him, for I have learnt much from his book,
and have been put in the way of (I hope) learning much more.”—_Academy._
“Nothing could well be better selected or executed than are the
photogravures, and even the small illustrations of the book. In these he
has caught ‘the very form and spirit of the times’ in East Anglia.... His
landscapes ... recall Constable’s pictures.”—_Field._
“This is a delightful book ... indeed, no one can study the illustrations
and read the accompanying text without becoming imbued with the author’s
enthusiasm, and without feeling that he has gained an entirely new insight
into the character and surroundings of the English peasant. So artistic
are the illustrations, with their Corot-like softness of outline, that in
future no book that deals with an unfamiliar country will seem complete
without such aids.... There should be, and no doubt there will be, books
such as this about every corner of the globe, and Mr. Emerson is to be
thanked for setting the example.”—_New York “Nation.”_
------------------------------------------------------------------------
NATURALISTIC PHOTOGRAPHY
FOR
STUDENTS OF THE ART.
By Dr. P. H. EMERSON.
Crown 8vo. Cloth, 5_s._ Second Edition, revised.
Opinions of the Photographic Press.
“In the work just issued, that the author endeavours himself to look
directly at his subject without feeling himself bound by what others have
said, constitutes the chief charm, and the reader soon finds he is not in
contact with an author who is either an echo of others, or wishes to make
his readers mere echoes of himself; indeed, the reader soon finds that his
teacher is not one who expects and strives to mould his readers to his own
image, but one who hopes to rather read them to think and act for
themselves. If our author’s spirit was more current among the technical
teachers of our day, we would probably be in a more hopeful condition as
regards future progress in the arts and crafts. The literary style of the
work is excellent, and it contains a fund of useful information conveyed
in a pleasant manner.... The mass of the book is composed of valuable and
thoughtful essays on the various branches of photographic work—both from
the technical and the artistic aspects—embodying the author’s own
experience. Altogether ‘Naturalistic Photography’ is a work which should
be possessed and read by every one interested in the practice of
Photography.”—_Photographic News._
“Suffice it to say that the book is distinctive from any other book on
photography, and there is reading worth study on every page. We have been
so fascinated by the freshness of language and the forcible way in which
the author endeavours to bowl over old ideas and institute new ones, that
we have had a difficulty at times in laying aside the admirably printed
and got-up volume. We can only say that we heartily commend it to all who
are interested in artistic photography, and who are not above learning
from a master in the subject.”—_Photographic Journal._
“When he comes to the part that really concerns photographers he is simply
admirable ... his boldness and originality of treatment, the ability with
which he analyzes, arranges, and treats his subject, and his practical
conclusions, are as charming as they are valuable, as pleasant to read as
they will be useful to practise.... The latter part of the book on
technique and practice is capital, and ought to meet with acceptance, and
must be valuable to the photographic world.... Carefully thought out, ably
written, boldly expressed, original in treatment, ‘Naturalistic
Photography’ is a valuable contribution to our literature.”—_Photography._
“Dr. Emerson’s book has come at last. It was well worth waiting for, and
fully justifies expectations.... It has evidently already helped a
considerable number of photographers to ideas.... The general acceptance
of evolution principles, thought freed from trammels, and the adoption of
scientific methods, tend to give us treatises in which a rational and
natural basis for all phenomena is sought. Dr. Emerson’s book is
distinctly of this class.... It is brimful of interest, and will furnish
texts for art argument for some time to come, as well as afford solid
instruction for the earnest student.”—_Camera Club Journal._
“C'est un volume à lire, je dirai même à relire, car le Dr. P. H. Emerson
émet des idées qui lui sont tellement personnelles, qui souvent
contredisent si fort les idées généralement reçues, qu’il faut s’y
reprendre à deux fois pour bien se rendre compte de sa manière toute
nouvelle d’apprécier l’art photographique.... Il se compose d’une
introduction, dans laquelle nous trouvons tout d’abord la preuve de
l’originalité des idées de l’auteur, &c.... On le voit, le sujet est
traité dans tous ses détails, et ajoutons qu’il est traité d’une façon
très intéressante.... Il taut reconnaître que la lecture de ce volume
s’impose non seulement à ceux qui s’occupent de photographie, mais à tous
ceux qui s’occupent de l'étude des beaux-arts.”—_Journal de l'Industrie
Photographique._
“It is enough to say that we have read this beautifully got-up book with
interest, and consider the opinions and many doctrines of the author very
remarkable; and finally we can in good faith recommend the
book.”—(Translation of part of review in the) _Deutsche
Photographen-Zeitung_.
“A most enjoyable book to every true lover of nature.... Erudite,
embracing a very large field ... this work must claim the careful
attention of an earnest student ... the ordinary textbook of photography
is superseded, and technique and practice is dealt with in a thorough and
somewhat original manner ... the reader will find much which will be well
worth careful study.”—_Photographic Art Journal._
“‘Naturalistic Photography’ is a splendid contribution to photographic
literature.”
_Wilson’s Photographic Magazine._
“This book is highly to be recommended to those acquainted with the
English language.”
(Translated from) _Photographische Mittheilungen_.
“Cet ouvrage si bien étudié sera lu avec grand fruit par les photographes
amateurs, surtout auxquels il est destiné, car ils y trouveront les
conseils pratiques dont ils tireront profit, soit dans 'atelier, soit dans
les études en plein air.”—_L'Amateur Photographe._
“The practical part of Dr. Emerson’s book is most admirable.... Dr.
Emerson has produced some of the most superb work ever achieved by
photography, and all who have admired his beautiful compositions are
anxious to know his methods. He treats the subject in a clear and forcible
way, and with much originality.... One reads and reads again with pleasure
from page to page, and is often delighted with the novelty of
presentation. The great virtue of Dr. Emerson’s book is its freshness. The
reader is not wearied with reiteration of old hackneyed ideas and
misapplication of stereotyped rules. It is a record of the author’s own
opinions.”
_American Journal of Photography._
“This book contains a greater amount of information on the artistic
elements to be considered in photography than any that we know of. The
author ... has elucidated very concisely, yet also very fully, the
principles which should be kept in view in making artistic and attractive
photographs.... In these days of amateur photography, when the mechanical
and chemical manipulations necessary to obtain a good photograph are so
easily acquired, a book like this, calling attention in simple language to
the elementary conditions that should be observed in making artistic
photographs, will be greatly appreciated.”—_Scientific American._
“Da Londra, coi tipi Sampson Low & Co., ci giunge una recentissima
pubblicazione del Sig. Emerson, col tito ‘Naturalistic Photography,’
essolutamente originale ed interessante. L'autore si rivela per un artista
intelligentissimo della fotografia e facendone la critica con sicurezza di
giudizio e con esempii tratti, nella parte estetica, dai gran di maestri.”
_Bollettino dell' Associazione degli Amatori di Fotografia da Roma._
------------------------------------------------------------------------
_Advertisements._
------------------------------------------------------------------------
W. WATSON & SONS,
=_313, HIGH HOLBORN, LONDON,_=
MANUFACTURERS OF HIGHEST CLASS
Optical and Photographic Instruments.
------------------------------------
_=WATSON'S LIGHT PREMIER CAMERAS.=_
_Exceedingly Light and Compact. Exceedingly Strong and Rigid. Long Range
of Focus.
Reversing Back._
[Illustration]
=Very Highest Quality
and Workmanship,=
And made on the interchangeable system. The Dark Slides, Fronts and Screw
Nuts being fitted to standard sizes, extra ones can be supplied at any
time, or the slides of any one Camera will interchange with any other for
same size plates.
_Each includes 3 Double Slides, fitted with Watson’s Patent Stops and
Spring Catches to the Shutters._
─────────────┬────────┬────────┬────────┬────────┬────────┬────────┬────────┬────────
Size of │ 4¼×3¼. │ 5×4. │ 6½×4¾. │ 7½×5. │ 8½×6½. │ 10×8. │ 12×10. │ 15×12.
Camera │ │ │ │ │ │ │ │
│ £ s.d. │ £ s.d. │ £ s.d. │ £ s.d. │ £ s.d. │ £ s.d. │ £ s.d. │ £ s.d.
Prices │ 7 15 0│ 8 10 0│ 9 12 0│10 0 0│12 5 0│14 0 0│16 12 6│21 0 0
Extra, if │ 1 10 0│ 1 10 0│ 1 10 0│ 1 10 0│ 1 15 0│ 2 0 0│ 2 10 0│ 3 0 0
brass bound │ │ │ │ │ │ │ │
Rapid │ 2 5 0│ 2 10 0│ 3 10 0│ 4 0 0│ 4 10 0│ 6 0 0│ 7 15 0│10 0 0
Rectilinear │ │ │ │ │ │ │ │
Lens │ │ │ │ │ │ │ │
Solid Leather│ 1 1 0│ 1 5 0│ 1 15 0│ 1 15 0│ 2 2 0│ 2 15 0│ 3 10 0│ 5 5 0
Travelling │ │ │ │ │ │ │ │
Case │ │ │ │ │ │ │ │
Folding │ 1 1 0│ 1 1 0│ 1 5 0│ 1 5 0│ 1 5 0│ 1 10 0│ 2 2 0│ 2 10 0
Tripod Stand │ │ │ │ │ │ │ │
Instantaneous│ 0 12 6│ 0 12 6│ 0 12 6│ 0 12 6│ 0 15 0│ 0 15 0│ 1 0 0│ 1 5 0
Shutter │ │ │ │ │ │ │ │
─────────────┼────────┼────────┼────────┼────────┼────────┼────────┼────────┼────────
Totals for │14 4 6│15 8 6│18 4 6│19 2 6│22 12 0│27 0 0│33 9 0│43 0 0
Sets │ │ │ │ │ │ │ │
─────────────┴────────┴────────┴────────┴────────┴────────┴────────┴────────┴────────
The above Prices are subject to 10 per cent. discount for Cash with order.
WATSON'S “DETECTIVE” CAMERAS.
The most perfect and convenient form of Instantaneous Apparatus extant.
------------------------------------
STUDIO CAMERAS, BACKGROUNDS, EXPOSURE SHUTTERS, DISHES, DRY PLATES,
CHEMICALS, &c.
------------------------------------
_An Illustrated and Descriptive Catalogue, of every instrument and
accessory required in Photography, sent free to any address on
application. Ask for Photo List._
------------------------------------
Awarded in 1889—The only Medal for Cameras, Richmond Photographic
Exhibition. In 1888—The only Medal for Cameras, and the only Medal for
Stands, at the Crystal Palace Great Photographic Exhibition; The Gold
Medal for Photo. Instrument, Melbourne International Exhibition. In
1887—The only Medal for Photo. Apparatus, Adelaide International
Exhibition. In 1886—The only Gold Medal for Photo. Apparatus, Liverpool
International Exhibition.
------------------------------------
=W. WATSON & SONS, 313, HIGH HOLBORN, LONDON.=
Steam Factory—9, 10, 11, Fulwoods Rents, W.C.
ESTABLISHED 1837.
------------------------------------------------------------------------
SANDS & HUNTER,
Photographic Apparatus Manufacturers,
_O, CRANBOURN STREET, LONDON, W.C._
------------------------------------
[Illustration]
=SANDS & HUNTER'S NEW LIGHT
CAMERA, “THE IMPERIAL,”=
Is specially constructed for Tourists, combining both strength and
lightness, is portable and perfectly rigid, has long extending focus,
reversing holder, double swing back with independent motions, rack and
pinion focusing adjustment, best quality leather bellows, &c.
The back and front can be fixed at any part of the baseboard, and are
firmly fixed by clamping rods.
The ground glass focusing screen is protected by the baseboard when closed
for travelling.
N.B.—The above camera is now fitted with Sands and Hunter’s New Patent
Swing Back.
Price, including 3 double backs with spring fastenings:—
4¼×3¼ or 5×4 6½×4¾ 7½×5 or 8×5 8½×6½ 10×8 12×10 15×12
£6 6s. £8 10s. £9 5s. £10 £12 £15 £18 15s.
Brass Binding Camera and 3 double backs:—8 × 5 and under, £1 10s.; 8½ × 6½
to 10 × 8, £2; 12 × 10, £2 5s.; 15 × 12, £3.
Russia leather bellows, extra:—4¼ × 3¼ or 5 × 4, =17s.=; 6½ × 4¾ to 8 × 5,
£1 2s.; 8½ × 6½, £1 4s.; 10 × 8, £1 6s.; 12 × 10, £1 15s.; 15 × 12, £2
10s.
Illustrated Catalogue post free. SANDS & HUNTER, LONDON.
------------------------------------------------------------------------
The Amateur _PRICE 2d._
PUBLISHED WEEKLY. Photographer.
------------------------------------
=IMPORTANT ADVERTISING MEDIUM.=
------------------------------------
BEING THE
ONLY JOURNAL FOR AMATEUR PHOTOGRAPHERS
In Field, Studio, Camp; Afloat, Ashore; in Town or Country; at
Home
and Abroad.
------------------------------------
N.B.—All communications respecting Advertisements to be
addressed to
PARRY & CRAWFORD, 52, Long Acre, LONDON, W.C.
=THE TOURIST'S COMPANION.=
------------------------------------
SHEW'S ECLIPSE POCKET CAMERA,
or Fixed Focus Hand Apparatus (Patent).
[Illustration:
CAMERA OPEN
ready for use.
]
[Illustration:
Folded for the Pocket,
Weight 12 ounces,
for Pictures 4¼ × 3¼.
]
[Illustration:
Enclosed in Detective Case
with Roller Slide for 48 Pictures
or three Double Backs.
]
We would call special attention to the superiority of the
results obtained with this little instrument over those of the
many others introduced since we first made the Eclipse. As a
first-class working instrument it still has no rival.
Street Views, Groups, Architectural subjects, Landscapes,
Panorama, &c., are obtained with marvellous detail, particularly
suitable for Lantern Transparencies and for enlarging to an
extraordinary extent.
Detective Case
Apparatus Fitted with Three Double for Roller
Slide,
Size. Complete, one Roller Slide Backs fitted and Camera open,
Double Back. for 48 for or three Double
Pictures. Backs.
3¼ × 3¼ £4 4 0 — £1 13 0 —
4¼ × 3¼ 4 9 0 £6 5 0 1 13 0 £1 1 0
5 × 4 5 0 0 7 10 0 1 18 6 1 5 0
6½ × 4¾ 6 0 0 8 15 0 2 5 0 1 5 0
12 × 9 centimeters, 5 5 0 7 5 0 1 16 0 1 5 0
16 × 12 ” 6 0 0 8 15 0 2 5 0 1 7 6
18 × 13 ” 6 10 0 9 7 6 2 8 0 1 10 0
Screw and fitting plates to Camera for use on Stand, Clip, or
Camera Rest, for Landscape or Portrait, either size, 2/-.
[Illustration]
SHEW'S PATENT POCKET CAMERA REST, or Support for Hand Cameras.
An Ingenious Substitute for a stand where it is impossible,
through want of light or other causes, to obtain an
instantaneous exposure. Instantly attaching the Camera to any
wooden projection. =No tourist should be without it.=
Weight. Size. Price, post free.
For ¼-Plate Cameras 2½ oz. 4½ × 2 × ¾ in. 3/3
For ½-Plate ” 6 ” 7½ × 2½ × 1 ” 4/3
=SHEW'S ECLIPSE ENLARGING OR REDUCING APPARATUS,=
See special circular, free on application to
=J. F. SHEW & CO., 88, NEWMAN ST.=, _Four doors off Oxford St._,
=LONDON, W.=
------------------------------------------------------------------------
=GEORGE HARE,=
_PHOTOGRAPHIC APPARATUS MANUFACTURER_,
26, Calthorpe Street, Gray’s Inn Road, LONDON.
FOURTEEN PRIZE MEDALS have been awarded to G. HARE'S Cameras and
Changing-Box for Excellence of Design and Workmanship. SILVER
MEDAL awarded at the International Inventions Exhibition for
Excellence in the manufacture of Cameras.
------------------------------------
G. HARE'S NEW CAMERA.
INVENTED AND INTRODUCED, JUNE, 1882.
_The Best and most compact Camera ever Invented._
[Illustration]
Since its introduction, this Camera has received several
important modifications in construction. It stands unrivalled
for elegance, lightness, and general utility. It is specially
adapted for use with the Eastman-Walker Roll Holder. A 6½ × 4¾
Camera measures when closed 8 × 8 × 2½ in., weighs only 4 lbs.,
and extends to 17 in. The steady and increasing demand for this
Camera is the best proof of its popularity.
“Little need be said of Mr. George Hare’s well-known Patent
Camera, except that it forms the model upon which nearly all the
others in the market are based.”—Vide _British Journal of
Photography_, August 28, 1885.
Size of Square, with Brass│Size of Square, with Brass
Plate. Reversible Holder. Binding.│Plate. Reversible Holder. Binding.
5 × 4 £6 0 0 £0 16 0│10 × 8 9 16 0 1 4 0
6½ × 4¾ 7 2 6 1 0 0│12 × 10 11 0 0 1 6 0
7½ × 5 7 10 0 1 0 0│15 × 12 13 5 0 1 10 0
8½ × 6½ 8 15 0 1 0 0│These prices include one Double Slide.
Since this Camera has been introduced, it has been awarded THREE
SILVER MEDALS: at Brussels International Photographic
Exhibition, 1883; at the Royal Cornwall Polytechnic Society,
Falmouth; and at the INTERNATIONAL INVENTIONS EXHIBITION, 1885.
Also Bronze Medal, Bristol International Exhibition,
1883—HIGHEST AWARD.
G. HARE'S Improved Portable Bellows Camera.
INVENTED AND INTRODUCED 1878.
[Illustration]
This Camera offers many advantages where a little extra weight
and bulk is not objected to. It is very solid and firm in
construction, and especially suited for India and other trying
climates.
PRICES, with one Double Slide and Hinged Focussing Screen:—
Horizontal and Square, with Brass
For Plates. Vertical. Reversible Holder. Binding.
6½ × 4¾ £6 7 6 £7 12 6 £1 0 0
8½ × 6½ 7 18 0 9 5 0 1 0 0
10 × 8 9 4 0 10 16 0 1 5 0
12 × 10 10 13 0 12 5 0 1 10 0
15 × 12 13 5 0 15 10 0 2 0 0
18 × 16 20 15 0 24 0 0 2 10 0
For Prices of Extra Dark Slides and Inner Frames, See Catalogue.
HINTON & C^O.
38 BEDFORD STREET
=STRAND, W.C.=
==PHARMACEUTICAL, OPERATIVE & PHOTOGRAPHIC CHEMISTS.==
HINTON'S FOLDING PLATE RACKS, 4000 sold in one year.
HINTON'S MAGNESIUM FLASH LAMPS, the most practical made.
HINTON'S PURE CHEMICALS, always reliable.
HINTON'S STANDARD READY-MADE SOLUTIONS.
HINTON'S “COLLEGE” DARK ROOM LAMPS, 10/6.
HINTON'S SELECTED LENSES AT MODERATE PRICES.
HINTON'S CAMERAS OF SEASONED WOOD AND BEST WORKMANSHIP.
HINTON & CO. STOCK PLATES, FILMS, and PAPERS by all the best makers.
DEPÔT for WRAY'S MAGNIFICENT LENSES, LIESEGANG'S ARISTOTYPE PAPER, and
NEWMAN'S ACCURATE TIME SHUTTER.
_=SEND FOR HINTON'S PRICE LIST.=_
-------
=Registered G.W.W. Trade Mark.=
=G. W. WILSON & Co.,=
=2, ST. SWITHIN STREET, ABERDEEN,=
Wholesale Landscape Photographers and
Photographic Publishers,
=LANTERN SLIDE MAKERS AND ENLARGERS AND PROCESS PRINTERS.=
----------------------------
_Catalogues and Price Lists Post Free on application._
---------------------
=CORRESPONDENCE INVITED.=
------------------------------------------------------------------------
PLATINOTYPE PRINTING
From Photographers' own Negatives carefully executed, by
Richard Keene, so as to secure the ==BEST RESULTS==.
---------------------
RETOUCHING, NATURAL SKIES, &c., AT MODERATE COST.
---------------------
Price List Post Free on application to
_=RICHARD KEENE, DERBY.=_
------------------------------------------------------------------------
=THE AMATEUR PHOTOGRAPHER.=
PUBLISHED WEEKLY. Price 2d.
------------------
=IMPORTANT ADVERTISING MEDIUM.=
------------------
Being the ONLY JOURNAL for AMATEUR PHOTOGRAPHERS in Field,
Studio, Camp; Afloat, Ashore; in Town or Country; at Home and
Abroad.
N.B.—All communications respecting Advertisements to be
addressed to
PARRY & CRAWFORD, 52, LONG ACRE, LONDON, W.C.
------------------------------------------------------------------------
_PUBLISHED EVERY FRIDAY._ _PRICE 2d._
[Illustration:
Illustration:
THE
AMATEUR
PHOTOGRAPHER
A Popular Illustrated
Journal
Devoted to
Photography and the
kindred Arts.
]
Edited by CHARLES W. HASTINGS.
London: HAZELL, WATSON & VINEY, Ld., 52, Long Acre, W.C.
_And through all Newsagents and Photographic Dealers._
=SPECIMEN COPY FREE ON APPLICATION.=
=☞ 10/10 per year, 5/6 for Six Months.=
------------------------------------------------------------------------
Polytechnic School
OF
Photography,
309, 311, REGENT STREET, LONDON, W.
THE SCHOOL is open daily for Practical Instruction in all
branches of =PHOTOGRAPHY=. The STUDIO and DARK ROOMS are lit by
Electricity, and the appliances are complete in every respect.
---------------------
_TERMS FOR PRIVATE INSTRUCTION_:—
£ _s._
_d._
In Dry Plate Photography and Silver Printing, until 5 5 0
proficient
” Retouching 5 5 0
” Developing (_special course_) 2 12 6
” Carbon Printing 2 2 0
” Enlarging 2 2 0
” Platinum Printing 1 1 0
---------------------
=FORTY-EIGHT PRIZE MEDALS=
Have been awarded to Students of the School at Exhibitions.
---------------------
_A year’s practical Training at the School is the best
Photographic Education obtainable in the World._
---------------------
FULL PARTICULARS ON APPLICATION.
------------------------------------------------------------------------
=P. MEAGHER'S=
FIELD AND STUDIO CAMERAS AND
STUDIO STANDS
Have received the Highest Awards wherever Exhibited.
[Illustration: Fig. 1.]
[Illustration: Fig. 2.]
“The Cameras of MEAGHER deserve special Examination, as well for
the perfection of their workmanship as for their perfect
adaptation to the purpose for which they are designed.”—Vide
_Report of Jurors_, Class IX., International Exhibition, Paris.
This Camera is Light, Portable, and quickly set up ready for
use, and is perfectly rigid when extended. Fig. 1. shows the
Camera packed up.
Fig. 2 shows the Camera with Reversing Frame and Front extended.
Each Camera is supplied with two Fronts which can be raised or
lowered as required.
------------------------------------
=MEAGHER'S IMPROVED PORTABLE BELLOWS CAMERA.=
Specially constructed for use with Dry Plates. It is fitted with
Single or Double Action Swing Back, and the focussing is
effected by Screw or Rack Adjustment. Prices, with Single Swing
Back and three Double Backs, each carrying two Prepared Plates:—
For 5 × 4 =£5 15 0=
Ditto, with Double Swing Back, Reversing Frame, and = 8 5 0=
Extending Front for Long Focus
For 6½ × 4¾ = 7 1 0=
Ditto, with Double Swing Back, Reversing Frame, and = 9 11 0=
Extending Front for Long Focus
For 7½ × 5 = 7 5 0=
Ditto, with Double Swing Back, Reversing Frame, and = 9 15 0=
Extending Front for Long Focus
For 8½ × 6½ = 8 10 0=
Ditto, with Double Swing Back, Reversing Frame, and =11 15 0=
Extending Front for Long Focus
For 10 × 8 =10 5 0=
Ditto, with Double Swing Back, Reversing Frame, and =14 5 0=
Extending Front for Long Focus
=BRASS-BINDING CAMERA=, and Three Double Backs up to
8½ × 6½, =£1 8s.=; 10 × 8, =£1 13s.=
FOR PRICES OF LARGER SIZES SEE ILLUSTRATED CATALOGUE.
Illustrated Catalogues Post Free. Ten Per Cent. Discount for
Cash with
Order.
=LENSES BY ROSS, DALLMEYER,=
AND ALL OTHER MAKERS.
=☞ AGENT FOR THE ABNEY AND DERBY DRY PLATES,
And BLANCHARD'S SENSITIZED PAPERS.=
------------------------------------
MANUFACTORY:—21, Southampton Row, High Holborn, LONDON, W.C.
------------------------------------------------------------------------
BECK'S
‘AUTOGRAPH’ LENSES
WITH
IRIS DIAPHRAGM.
[Illustration]
BLAKE & EDGAR,
Artists in Photography,
74, Midland Road, Bedford.
Messrs. R. & J. BECK.
Dear Sirs,
The No. 5 Lens, after severe testing, has proved to be a
Splendid and Reliable Instrument, and candidly we expected a
good thing; but with this Lens, for all the purposes we have
tried it, the results are far above our expectations. During
Twenty-five Years' experience in Photography, only Lenses of the
two Best Makers have been used. We can confidently say we prefer
your Lens to any of the others we have.
We are, Dear Sirs, yours respectively,
BLAKE & EDGAR.
[Illustration]
FULL CATALOGUES ON APPLICATION TO
R. & J. BECK, 68, Cornhill, LONDON.
------------------------------------------------------------------------
SPECIAL NOTICE TO LOVERS OF ART
PHOTOGRAPHY.
---------------------------------------------------------
It is a recognized fact by all the leading Art Photographers of
the day that a single Landscape Lens is absolutely the best for
correct rendering of distances in Landscape Pictures, and that,
providing the Lens is carefully corrected, a beautiful softness
and truthfulness of atmospheric distance is the natural result.
The Stereoscopic Company claim for their “BLACK BAND” single
Landscape Lenses absolute perfection in this respect.
------------------------------------
_Extract from the_ AMATEUR PHOTOGRAPHER _of June 8, 1888_.
“The space at our command forbids us to more than mention the
conical-shape single landscape lens, a useful addition to every
photographer’s kit, where views of mountain scenery are to be
taken, the distances being rendered with truer perspective than
is the case with the rectilinear.”
------------------------------------
[Illustration]
PRICES.
No. 1. Size 5 ×4 £1 11 6
” 2. ” 7×5 2 12 6
” 3. ” 8½×6½ 3 13 6
” 4. ” 10 ×8 4 14 6
” 5. 5 5 0
” 12 ×10
The London Stereoscopic and
Photographic Co., Ltd.
110 & 108, REGENT STREET, W., & 54, CHEAPSIDE, E.C.
----------------------------
NEW ILLUSTRATED PRICE LIST, 200 pp., post free, 7 Stamps.
------------------------------------------------------------------------
Transcriber’s Note
On p. 102, the start of an apparent quotation from Helmholtz is
not marked, but most likely begins with “_we see this in
combination...”.
Beginning on p. 105, an extended quotation from Helmholtz seems
to extend through p. 107, where the ending quotation mark
appears. The conventional practice of punctuation across
paragraphs was not observed. This occurs again on pp. 279-281
with a quotation for T.F. Woodall.
Errors deemed most likely to be the printer’s have been
corrected, and are noted here. The references are to the page
and line in the original. The following issues should be noted,
along with the resolutions.
57.23 [O/Ō]kio. Replaced.
64.28 Woerman[n] Added.
79.8 and sometimes “impress[s]ions” in oil Removed.
85.26 Then we have first De[s]camps Inserted.
88.1 principal feat[n/u]res are already beautiful Inverted.
108.12 we distinguish them from the intermediate _sic_
waves.[”]
140.33 supplied in tel[o/e]scopic form Replaced.
182.30 on Dr. V[ö/o]gel’s plates Replaced.
208.28 negatives had been reprodu[c]ed here Inserted.
222.2 Copyright (Works of Art) Ac. Ac[t]. Restored.
242.15 composition, that [ /i]s selection Restored.
271.21 Considerable pressure must be exerte[d] Restored.
289.34 Harding and Bonington in Eng[l]and Inserted.
305.45 “Modern dry plates,[”] Added.
307.15 “Mere trans[s]cripts of Nature,” Removed.
302.9 and crying than [i]n any Italian Restored.
a2.6 t[ /h]rough> sedgy solitudes Restored.
a2.14 The set of landscapes which c[ /l]ose the Restored.
volume
a4.11 may justly fee[ /l] proud. Restored.
a7.12 to rather [read] them to think and act _sic_: lead?
End of Project Gutenberg's Naturalistic Photography, by P. H. Emerson