Of all the photographic sizes that have been introduced to the public, the cabinet is the most artistic in its proportions. As nearly as possible it falls under that art rule of producing an oblong or parallelogram of the most agreeable proportions, which is as the diagonal is to the square. The size of the cabinet is 51⁄2 by 4, and if you measure the diagonal of the square of 4 inches, you will find that the length of the cabinet, 51⁄2 inches, is as near that as possible. Doubtless Mr. Window had this in view when he introduced the size, and whether for upright or horizontal pictures, such proportions are decidedly the best. Many of the sizes already in use are too long, others are too short and square. In addition to the beautiful proportions of the cabinet size, it gives the portrait photographer more room and opportunities to introduce harmonious forms and effects in the posing and arrangements of portraits and groups; and I have seen some very charming views on the cabinet size, 51⁄2 by 4 inches horizontally; as well as some very beautiful interiors of Westminster Abbey, by Mr. V. Blanchard, on the cabinet cards vertical, which proves pretty conclusively that the proportions of the diagonal to the square of any size will suit both vertical and horizontal pictures. I have not the least doubt but a much greater demand for those cabinet pictures, both portrait and landscape, could be created, if photographers would set about introducing them with a will: depend upon it if they will but put their heart into the matter, they would put money into their pockets. I know how much has been done by launching them fearlessly on the sea of public patronage in several localities, and I feel certain the demand would be much more general if the cabinet picture were judiciously introduced. Mr. H. P. Robinson and Mr. Nelson K. Cherrill, having entered into partnership, are on the point of opening a photographic establishment at Tunbridge Wells, where they intend to incur considerable expense to introduce the cabinet portrait, and give it that prominence it so justly merits.
Since writing you last, I learn from a friend who is intimate with Mr. McLachlan that there is every possibility of his secret being revealed ere long. That this secret formula will be an immense boon to all photographers, there can be little doubt. If an absolute immunity from streaks in the direction of the dip, brain-markings, and pinholes—which are the advantages said to be derived from the process—can be guaranteed, then will the manipulatory part of photography be at once made easy; and Mr. McLachlan will have conferred a personal obligation on every photographic manipulator. Not only will photographers be benefitted by Mr. McLachlan’s generous conduct, the whole world will participate in the advantages he intends to place as a gift in the hands of photographers; and even art, that is so afraid of a photographic amalgamation, will be honoured by the revelation. But once let the mind of the operator be for ever free from the cares and anxieties of his negative being clean, spotless, and excellent in quality, he will then have more time and inclination to put his art knowledge, if he have any, into practice, by paying more attention to the pose of his sitters and the artistic choice and arrangement of accessories. If he be without art knowledge he will be obliged to acquire it and put it into practice, or be driven out of his field of operations. For, if the chemical difficulties and uncertainties are to be so summarily disposed of, and all the manipulations reduced to a certainty and dead level, a pre-eminence in the profession can only be maintained by him who exhibits a taste, feeling, and love for his labours superior to the desire to palm upon the public, for mere gain, works that are a disgrace and a scandal to the profession of which he is a member. That such a condition of things photographic may be quickly brought about is much to be desired, and if such be the result of Mr. McLachlan’s very noble willingness to give to the photographic community experiences that have cost him much time and money in acquiring by close observation and experiment, he will, at the least, be entitled to the sincere and hearty acknowledgments of all well-wishers and lovers of our art-science.
Apropos of clean and easy development, I should like to know if any of your numerous readers have tried the effect of sulphate of zinc with the iron developer. I understand its use obviates the necessity of using acetic acid as a retardant; that the deposit of silver is much more delicate than that produced by iron alone; that the control over it is very great; that any amount of intensity can be obtained by one or more applications, without the aid of pyrogallic acid, and without producing harshness or hardness. With such recommendations it is certainly worth a trial. I have had no time to try it myself, but think it is of sufficient importance to give your readers an opportunity of experimenting with it, and judging for themselves.
Photographic News, April 10th, 1868.
“LUX GRAPHICUS” ON THE WING.
The Late Lord Brougham—New Fields for Photography—Natural Objects Coloured—The Monochrome and Autotype—Mr. McLachlan again.
Death has just swept away one of the most gigantic intellects of the nineteenth century. For me to state what the late Lord Brougham was, or attempt to enumerate his vast attainments, or measure the strength of his colossal mind, would be a piece of intolerable presumption; but I think I may safely say that he was an enthusiastic admirer of photography. Years ago, in the midst of his parliamentary and other pressing duties, whenever he could find time to enjoy the quiet of Brougham Hall, near Penrith, his giant mind was not above indulging in the delightful relaxation it afforded; and many a pleasant hour he used to spend chatting with Mr. Jacob Thompson, an artist of great ability, and also a very early amateur photographer, on the wonderful results obtained by the new art. The late Lord Brougham began his literary career by publishing a treatise on “Light,” before photography was known or thought to be practicable; in after life he interested himself in its marvellous productions, and his last literary labour was also about light. Not only did the great statesman “know a little of everything,” he did a little in everything. The deceased lord took a lively interest in the progress of photography during his lifetime, from its earliest introduction to within a short period of his death; and it would have been a graceful and fitting compliment to the memory of the great man of law, politics, literature, and science, if the English newspapers had embellished their memoirs of the late Lord Brougham with a photographic portrait of his lordship. Such a thing is quite practicable, and has been done successfully by our more enterprising confrères in Canada and the United States. The Montreal Weekly Herald of April 18th illustrates its memoir of the late Mr. T. d‘Arcy McGhee with a very excellent carte-de-visite portrait of the lamented and unfortunate Canadian Minister, mounted on the upper corner of the front page, surrounded with a deep black border. What an appropriate accompaniment such a presentation would have been to the able articles and memoirs which appeared in the daily press on Monday, May 11th, 1868! How much more interesting and valuable those clever biographical sketches of great men, as they pass away to their rest, which appear in the Daily Telegraph and other daily and weekly papers, would appear if illustrated with a photograph from life! That it can be done the Montreal Weekly Herald has recently and satisfactorily shown; and surely there is enterprise, spirit, and wealth enough among the British newspaper proprietors to follow the very laudable example of our transatlantic cousins. Negatives of great men are always attainable, and there need be no commercial difficulty between the photographer and newspaper proprietor on the score of supply. A multiplication of negatives or Woodbury’s process, would afford all the necessary facilities for producing the prints in large numbers.
Many new fields for the good of photography are opening up. Pathological works have been photographically illustrated with some amount of success. But far pleasanter fields are open to enterprising photographers in the faithful representation of natural objects, such as flowers, fruits, ferns, grasses, shrubs, trees, shells, seaweeds, birds, butterflies, moths, and every variety of animal life, from the lowest orders to the highest. I believe the time is not far distant when the best works on all the physical sciences will be illustrated by coloured photographs. Those very beautiful German photographs of flowers recently introduced show most conclusively of what photography is capable as a help to a study of the natural sciences. The flowers are not only photographed from nature, but exquisitely coloured after the same fountain of truth; and the sense of reality, roundness, and relief which they convey is truly wonderful.