MEZZOTINTO PORTRAIT

Before the photograph was invented portrait painters made a living by painting flattering likenesses which did not show facial blemishes. But when the cheaper photographic portrait was introduced sitters were often faced with a cruel but honest image. In full-length portraits the head was small and blemishes were not visible, but as the camera moved closer and larger heads became normal any moles or pock marks which could be omitted by a painter were clearly visible in a photograph.

One of the methods used to soften photographic portraits was known as Mezzotinto. Sheets of paper, glass or thin mica were inserted between the negative and printing paper to give a soft, diffused image, and although the method had been demonstrated much earlier, an American photographer obtained a patent for the Mezzo-Tinto in July 1867.

On 4 May 1865 the Register reported: ‘We have been favoured by the Adelaide Photographic Company with a specimen of a new kind of photograph, which we understand to be the first of the description that has been introduced here. It is called the mezzotinto style, and bears a close resemblance to an engraving of that character. As a work of art it is really very surprising, and as a variation from the ordinary kind of photographic portrait we have no doubt it will command a full share of popularity. The specimen to which we refer is rather larger than the usual size of photographs; and we should fancy (though we do not know the original) that the likeness must be good, the appearance of the portrait being lifelike and striking. Altogether we have seldom seen a more effective or truly artistic production.’

A week later Townsend Duryea informed the public that every month he received the latest improvements in photography from England and America, and in an obvious reference to the ‘new’ mezzotinto of the Adelaide Photographic Company he invited the public to inspect his latest styles and ‘several old specimens of the Mezzotinto photographs’ at his studio. Duryea continued using the process, displaying ‘large photographs of Mr J.H. Angas and the late Mrs G.F. Angas in mezzotint’ at his Adelaide studio in 1870, and in 1873 the Wallaroo Times reported: ‘Our attention has been directed to a mezzotint, half-life size, of a well-known medical practitioner on the Peninsula, that is certainly a triumph of art. It has been executed by Mr Solomon, who has been representing Mr Duryea at Port Wallaroo, and certainly, as a picture, it surpasses the excellent specimens that Mr Solomon brought with him to the district.’ Duryea was awarded a two guinea prize for a mezzotint portrait he exhibited at the 1871 exhibition of the South Australian Society of Arts. James Dobson was offering enlarged portraits in mezzotint at his Temple of Light studio in April 1877, and in 1889 Solomon’s Adelaide School of Photography advertised ‘large pictures’ finished in ‘Mezzo.’ Retouching (q.v.) of the negative began replacing the mezzotinto process about 1870.

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