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The Evolution of Photography. Werge John
Читать онлайн.Название The Evolution of Photography
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Автор произведения Werge John
Жанр Зарубежная прикладная и научно-популярная литература
Издательство Public Domain
The carte-de-visite form of photography had not exhibited much vitality at that period in London, but in Paris it was beginning to be popular. While in London I accompanied Mr. Jabez Hughes to the meeting of the Photographic Society, Feb. 7th, 1860, the Right Honorable the Lord Chief Baron Pollock in the chair, when the report of the Collodion Committee was delivered. The committee, consisting of F. Bedford, P. Delamotte, Dr. Diamond, Roger Fenton, Jabez Hughes, T. A. Malone, J. H. Morgan, H. P. Robinson, Alfred Rosling, W. Russell Sedgefield, J. Spencer, and T. R. Williams, strongly recommended Mr. Hardwich’s formula. That was my first visit to the Society, and I certainly did not think then that I should ever see it again, or become and be a member for twenty-two years.
I sailed from Liverpool in the ss. City of Baltimore in March, and reached New York safely in April, 1860. I took time to look about me, and visited all the “galleries” on Broadway, and other places, before deciding where I should locate myself. Many changes had taken place during the six years I had been absent. Nearly all the old Daguerreotypists were still in existence, but all of them, with the exception of Mr. Brady, had abandoned the Daguerreotype process, and Mr. Brady only retained it for small work. Most of the chief galleries had been moved higher up Broadway, and a mania of magnificence had taken possession of most of the photographers. Mr. Anson was the first to make a move in that direction by opening a “superb gallery” on the ground floor in Broadway right opposite the Metropolitan Hotel, filling his windows with life-sized photographs coloured in oil at the back, which he called Diaphanotypes. He did a large business in that class of work, especially among visitors from the Southern States; but that was soon to end, for already there were rumours of war, but few then gave it any serious consideration.
Messrs. Gurney and Sons’ gallery was also a very fine one, but not on the ground floor. Their “saloon” was upstairs, This house was one of the oldest in New York in connection with photography. In the very early days, Mr. Gurney, senr., was one of the most eminent “professors” of the Daguerreotype process, and was one of the committee appointed to wait upon the Rev. Wm. Hill, a preacher in the Catskills, to negotiate with the reverend gentlemen (?) for his vaunted secret of photography in natural colours. As the art progressed, or the necessity for change arose, Mr. Gurney was ready to introduce every novelty, and, in later years, in conjunction with Mr. Fredericks, then in partnership with Mr. Gurney, he introduced the “Hallotype,” not Hillotype, and the “Ivorytype.” Both these processes had their day. The former was photography spoiled by the application of Canada balsam and very little art; the latter was the application of a great deal of art to spoil a photograph. The largest of all the large galleries on Broadway was that of Messrs. Fredericks and Co. The whole of the ground and first floor were thrown into one “crystal front,” and made a very attractive appearance. The windows were filled with life-sized portraits painted in oil, crayons, and other styles, and the walls of the interior were covered with life-sized portraits of eminent men and beautiful women. The floor was richly carpeted, and the furnishing superb. A gallery ran round the walls to enable the visitors to view the upper pictures, and obtain a general view of the “saloon,” the tout ensemble of which was magnificent. From the ground floor an elegant staircase led to the galleries, toilet and waiting rooms, and thence to the operating rooms or studios. Some of the Parisian galleries were fine, but nothing to be compared with Fredericks’, and the finest establishment in London did not bear the slightest comparison.
Mr. Brady was another of the early workers of the Daguerreotype process, and probably the last of his confrères to abandon it. He commenced business in the early forties in Fulton Street, a long way down Broadway, but as the sea of commerce pressed on and rolled over the strand of fashion, he was obliged to move higher and higher up Broadway, until he reached the corner of Tenth Street, nearly opposite Grace Church. Mr. Brady appeared to set the Franklin maxim, “Three removes as bad as a fire,” at defiance, for he had made three or four moves to my knowledge—each one higher and higher to more elegant and expensive premises, each remove entailing the cost of more and more expensive furnishing, until his latest effort in upholstery culminated in a superb suite of black walnut and green silk velvet; in short, Longfellow’s “Excelsior” appeared to be the motto of Mr. Brady.
Messrs. Mead Brothers, Samuel Root, James Cady, and George Adams ought to receive “honourable mention” in connection with the art in New York, for they were excellent operators in the Daguerreotype days, and all were equally good manipulators of the collodion process and silver printing.
After casting and sounding about, like a mariner seeking a haven on a strange coast, I finally decided on buying a half interest in the gallery of Mead Brothers, 805, Broadway; Harry Mead retaining his, or his wife’s share of the business, but leaving me to manage the “uptown” branch. This turned out to be an unfortunate speculation, which involved me in a lawsuit with one of Mead’s creditors, and compelled me to get rid of a very unsatisfactory partner in the best way and at any cost that I could. Mead’s creditor, by some process of law that I could never understand, stripped the gallery of all that belonged to my partner, and even put in a claim for half of the fixtures. Over this I lost my temper, and had to pay, not the piper, but the lawyer. I also found that Mrs. Henry Mead had a bill of sale on her husband’s interest in the business, which I ended by buying her out. Husband and wife are very seldom one in America. Soon after getting the gallery into my own hands, refurnishing and rearranging, the Prince of Wales’s visit to New York was arranged, and as the windows of my gallery commanded a good view of Broadway, I let most of them very advantageously, retaining the use of one only for myself and family. There were so many delays, however, at the City Hall and other places on the day of the procession, that it was almost dark when the Prince reached 805, Broadway, and all my guests were both weary of waiting so long, and disappointed at seeing so little of England’s future King.
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