The daily exchange. [volume] (Baltimore, Md.) 1858-1861, 1860-08-14
A BALTIMORE INVENTION IN ErRopE

L.
1t is known that Mr.. d. A. Woodward,
the Principal of the Maryland Institute School
of Design, is the inventor of the Solar
Camera, an instrument which has become
necessity in the photographic art-enabling
the picture of an object to be taken instanta-
neously, and of any size desired. In getting the
portraits of children animnls, whose restlessness
renders it necessary that the operation should be
performed in the least possible point of time, this
Camera accompshes all that is desired, without the
distortion usually produced by the magnifying of
the lenses peculiar to the old article in use The
instrument has been introduced into Europe, and
we copy the following notices of it from the most
influential scientific journals:
A late number of the Paris La Lumiere says
At the last meeting of the French Photographic
Society Count Agnado presented several pictures
obtained by means of Woodward's Solar Camera
and representing animals taken nstantaneously on
quarter plates. 1t is impossible to produce any
thing more perfect of this kind. Animal painters
after this must despair. There was in particular
front view of a COW, with the body foreshortened
and the head erect, which makes the most charm
ing picture that can be imagined. 1t is so full of
lite, that you expect every instant to the ami
NAL walk out of the picture.
NJ. PAbbe Moigno, editor of the Paris Cosmos,
thus alludes to it in his journal:
awe certainly the first to call attention to an
important application of photography, which con-
sists in producing upon canvas a photopraphic
sketch vigorously exact of the subject whether his
torica, or landscape, or portrait, which the artist
wishes to illustrate. 1t appeared to us beyond a.
doubt that in giving to the artist material truth to
work upon, whether as regards accuracy ofform or
fidelity OF perspective, we should double, or rather
centuple his powers he would be put in much
better position for displaying his talents and would
almost be on par with the old masters provided he
understood the secrets of the palette and knew how
q aris
has lately hocked to view for the last time the nu-
merous and great works of AIRY Scheffer. We fol-
lowed the crowd, and up to certain point partook
OF Its enthusiastic admiration. But how many de-
ects there are which lessen the merits of this cele
brated artist! How many startling imperfectons
seem to crowd together in the shadow of his ex-
ceences. AIRY Schetfer, in fact, owes his success
solely to the expression of the heads in his pictures
in sentiment he is the first of painters; but he
draws badly,-groups dly,-and scarcely knows
what is meant by "perspective,' or "atmOsphere"
| Sometimes the of his figures appear to have
their origin in the head or behind the back how
shapeless and vulgar the hands are how prepos-
| terously long the legs-and how awkwardy are
they stuffed into the frame which appears too mar
row to contain them; and how i'll at some
times is, even in presence OF amable or inspired
| faces which enchant you But suppose that to
Schetfer, who only realized sort of passable ma
terial truth through difficulties which are ill con
eealed, skilful photographer had furnished a
sketch correct regards form perspective and at
| mosphere, nothing would evidently have opposed
itself to the production of perfect chefs-d 0urres
and it could not afterwards have been truly said
that the engravings from these immortal works
| were better in some respects than the originals.
But how are we to obtain upon canvas or pa
per- images of nearly the natural size, least as
large as the painters easel usually carries? This
| capital problem has already received many solu-
tions. Some artists have had recourse to the mon
| strous lenses of Lebrun, Jamin, and Voigtlander,
| and have demanded from them absolute impossi-
| bilities. With them Bissod, Disderi and others
have first obtained negatives, and from these posi-
| tive prints which not without certain merit.
| But these monstrous lenses are enormously dear,
and they require very long exposure in the
camera because the image is always feebly lighted.
| at is time to turn to Mr.. Woodward, whose in.
vention forms the subject Of this article. He is an
| American painter, and his invention principally
| concerns his brethren of the brush, but photo
| graphers may nevertheless profit richly by it. We
saw It'll operation on Wednesday last at the studio
| of M. Badie, in presence of Mr.. Thompson, Mr..
Bingham, Mr.. Duboscq and Nj. II. Solei. This i'm
provised trial of the process satisfied every one
present. We say improvised because the appara-
tus was hastily adjusted.
| "Mr. Woodward has deposited in the dtelier OF
M. Badie number of specimens of his charming in
| vention; two portraits of men, one lifesize, the
other half large again as life and both superior
to anything of the kind that has yet been done =
| two landscapes upon canvas, which very fine
| specimens; and portrait of little girl, whole
| plate, copied from an extremely small negative"
The London Photographic Notes notices the in
vention as follows:
/ An excellent feature of the Solar Camera is the
| freedom from distortion in the image produced by
| it. We are not prepared to say that the image is
mathemacally perfect, but the distortion if there
is any, Ia so triing that it escapes detection. This