Preparing biographies

‘Major Innes has sent some charming pictures to the Exhibition, but they are not well printed - there is a fading look about some of them, and they are not well mounted. Nainee Tal is the locality of his works; and No. 145, The Old Bridge, is as good a picture as any in the room. We should like to see a print from this negative executed in the style of Mr S. Bourne’s series which stand below those of Major Innes. The Old Bridge picture, however, has a subdued tone and colouring of its own which pleases in spite of the greater brilliancy and cleanness of the pictures ranged below it. There is much taste in this print and all is well and clearly told, although so softly; the aërial perspective is admirable. The traveller’s shed by the old bridge is a happy incident and contrasts well with the massed foliage. This sweet full picture, alone, is worthy of a silver medal. Sleepy Hollow (No. 142) is a pretty bit and a clean clear print, the figures help out the perspective and are well placed, but the road has too much the appearance of being snowed over. Village Scenery Himalayas is a very nice picture and good print. We think we could have picked out a fair series of ten photographs from Major Innes’ contributions. The Hill Coolie Girl (No. 157) may not be a good photograph, but it is an admirably composed picture, a good subject in an easy attitude. We would point attention to the basket so easily held, balancing effectively the figure, which leans in a half sitting attitude against the rocks, resting the weight of the right foot, which is crossed very naturally by the left foot. There is less of constraint and more of natural position and of easy flowing lines in this picture than we generally see. Major Innes’ pictures have the merit of being well chosen and symmetrical - he has the true artistic feeling, but he has scarcely done himself justice in sending this series of portraits...’^[1]

1. Λ Journal of the Bengal Photographic Society, vol. II, no. 7, March 1864, p. 80-81.