The Boston Daguerreotypists and Photographers, as a body, probably
occupy a higher place of intelligence, energy and personal reputation,
than those of any other city in the United States. Already they have
done, and they are now doing much for the elevation of Heliography and
its professors, in the public esteem. Even the “twenty-five,” “fifty
cents,” and “one dollar” operators are more skilful, and produce better
results than many of the “first class” elsewhere.
But the profession, even here, is degraded by some of the same
class, who have wrought so much mischief in other sections of our
country. To such narrow-minded “Rats” in the vocation, (to borrow an
epithet from the printers,) we say, “Shame–shame,”–for thus debasing
in the public estimation an Art at once so beautiful and so rich in
valuable uses!
One of the oldest practitioners in the United States, and probably
the very oldest in Boston, is Albert Southworth, now, and for several
years past of the firm of Southworth & Hawes, Tremont Row. To their
honor be it said, they have never lowered the dignity of their Art or
their profession by reducing their prices, but their fixed aim and
undeviating rule has been to produce the finest specimens, of which
they were capable,–the finest in every respect, artistic, mechanical,
and chemical; graceful, pleasing in posture and arrangement, and exact
in portraiture. Their style, indeed, is peculiar to themselves;
presenting beautiful effects of light and shade, and giving depth and
roundness together with a wonderful softness or mellowness. These
traits have achieved for them a high reputation with all true artists
and connoisseurs.
Their plates, too, have an exquisitely pure, fine, level surface,
being resilvered and polished on their “patent swinging plate vice;”
and are entirely free from waves, bends and dents,–in short, as nearly
perfect, as is perhaps possible. And yet, strange to say, their
pictures seem to me to be fully appreciated neither by the majority of
Heliographers nor by the public.
This firm have devoted their time chiefly to daguerreotypes, and
have paid but little attention to photography on paper.
I noticed, however, in their Gallery, a photographic copy of Gilbert
Stuart’s original portrait of Washington, full size, and decidedly the
best photographic copy of that celebrated portrait I have ever seen.
Saving the color, it is as perfect as one could wish.
They have also invented and patented a beautiful instrument, by
which 24 or 48, or even more (stereoscopic) pictures–taken either upon
plate, or paper, or glass,–are exhibited stereoscopically; and so
perfect is the illusion, as to impress the beholder with the belief,
that the picture is nature itself!
Mr. Southworth explained the wonders of the stereoscope very
clearly, and he takes his pictures of this class without distortion or
exaggeration. I think his principle correct, for his specimens were
stereoscopically beautiful, and exempt from the many faults witnessed
in those of others. I hope his theory, with instructions for its use,
may be published.
