The Pencil of Nature Part 3

PLATE X. THE HAYSTACK.

One advantage of the discovery of the Photographic Art will be, that it will enable us to introduce into our pictures a mult.i.tude of minute details which add to the truth and reality of the representation, but which no artist would take the trouble to copy faithfully from nature.

Contenting himself with a general effect, he would probably deem it beneath his genius to copy every accident of light and shade; nor could he do so indeed, without a disproportionate expenditure of time and trouble, which might be otherwise much better employed.

Nevertheless, it is well to have the means at our disposal of introducing these minutiae without any additional trouble, for they will sometimes be found to give an air of variety beyond expectation to the scene represented.

[PLATE XI. COPY OF A LITHOGRAPHIC PRINT.]

PLATE XI. COPY OF A LITHOGRAPHIC PRINT.

PLATE XI. COPY OF A LITHOGRAPHIC PRINT.

We have here the copy of a Parisian caricature, which is probably well known to many of my readers. All kinds of engravings may be copied by photographic means; and this application of the art is a very important one, not only as producing in general nearly fac-simile copies, but because it enables us at pleasure to alter the scale, and to make the copies as much larger or smaller than the originals as we may desire.

The old method of altering the size of a design by means of a pantagraph or some similar contrivance, was very tedious, and must have required the instrument to be well constructed and kept in very excellent order: whereas the photographic copies become larger or smaller, merely by placing the originals nearer to or farther from the Camera.

The present plate is an example of this useful application of the art, being a copy greatly diminished in size, yet preserving all the proportions of the original.

[PLATE XII. THE BRIDGE OF ORLEANS.]

PLATE XII. THE BRIDGE OF ORLEANS.

PLATE XII. THE BRIDGE OF ORLEANS.

This view is taken from the southern bank of the river Loire, which pa.s.ses Orleans in a n.o.ble stream.

A city rich in historical recollections, but at present chiefly interesting from its fine Cathedral; of which I hope to give a representation in a subsequent plate of this work.

[PLATE XIII. QUEEN'S COLLEGE, OXFORD, Entrance Gateway]

PLATE XIII. QUEEN'S COLLEGE, OXFORD, Entrance Gateway

PLATE XIII. QUEEN'S COLLEGE, OXFORD.

ENTRANCE GATEWAY.

In the first plate of this work I have represented an angle of this building. Here we have a view of the Gateway and central portion of the College. It was taken from a window on the opposite side of the High Street. In examining photographic pictures of a certain degree of perfection, the use of a large lens is recommended, such as elderly persons frequently employ in reading. This magnifies the objects two or three times, and often discloses a mult.i.tude of minute details, which were previously un.o.bserved and unsuspected. It frequently happens, moreover-and this is one of the charms of photography-that the operator himself discovers on examination, perhaps long afterwards, that he has depicted many things he had no notion of at the time. Sometimes inscriptions and dates are found upon the buildings, or printed placards most irrelevant, are discovered upon their walls: sometimes a distant dial-plate is seen, and upon it-unconsciously recorded-the hour of the day at which the view was taken.

[PLATE XIV. THE LADDER.]

PLATE XIV. THE LADDER.

PLATE XIV. THE LADDER.

Portraits of living persons and groups of figures form one of the most attractive subjects of photography, and I hope to present some of them to the Reader in the progress of the present work.

When the sun shines, small portraits can be obtained by my process in one or two seconds, but large portraits require a somewhat longer time. When the weather is dark and cloudy, a corresponding allowance is necessary, and a greater demand is made upon the patience of the sitter. Groups of figures take no longer time to obtain than single figures would require, since the Camera depicts them all at once, however numerous they may be: but at present we cannot well succeed in this branch of the art without some previous concert and arrangement. If we proceed to the City, and attempt to take a picture of the moving mult.i.tude, we fail, for in a small fraction of a second they change their positions so much, as to destroy the distinctness of the representation. But when a group of persons has been artistically arranged, and trained by a little practice to maintain an absolute immobility for a few seconds of time, very delightful pictures are easily obtained. I have observed that family groups are especial favourites: and the same five or six individuals may be combined in so many varying att.i.tudes, as to give much interest and a great air of reality to a series of such pictures. What would not be the value to our English n.o.bility of such a record of their ancestors who lived a century ago? On how small a portion of their family picture galleries can they really rely with confidence!

[PLATE XV. LAc.o.c.k ABBEY IN WILTSHIRE.]

PLATE XV. LAc.o.c.k ABBEY IN WILTSHIRE.

PLATE XV. LAc.o.c.k ABBEY IN WILTSHIRE.

One of a series of views representing the Author's country seat in Wiltshire. It is a religious structure of great antiquity, erected early in the thirteenth century, many parts of which are still remaining in excellent preservation. This plate gives a distant view of the Abbey, which is seen reflected in the waters of the river Avon. The spectator is looking to the North West.

The tower which occupies the South-eastern comer of the huilding is believed to be of Queen Elizabeth's time, but the lower portion of it is much older, and coeval with the first foundation of the abbey.

In my first account of "The Art of Photogenic Drawing," read to the Royal Society in January, 1839, I mentioned this building as being the first "that was ever yet known to have drawn its own picture."

It was in the summer of 1835 that these curious self-representations were first obtained. Their size was very small: indeed, they were but miniatures, though very distinct: and the shortest time of making them was nine or ten minutes.