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86 THE PHOTOGRAPHIC NEWS. [FEBRUARY 6, 1885. sheet of cloth or fabric, and in ordinary cases this may be about seven feet square, but in many instances five feet across is con sidered sufficient, a curtain serving to make additional width when a group is to be taken. Occasionally the photographer can select material of the re quired tint, but more often he finds it necessary to tint or flat his backgrounds to suit his own tastes; and the following directions given by Herr Hartmann in an early volume of the PHOTOGRAPHIC News will be found to be thoroughly practical. “ For the basis of a background it is best to employ frames such as painters use for their pictures, and the woodwork must be strong enough to resist warping. “The materials which are the easiest to paint are coarse canvas, shirting, and twill. It is fastened by means of nails, driven in only half-way, and after it has received its preliminary coating (of which more anon), it is carefully examined to see if there are any signs of contraction. If this has not taken place sufficiently, which is very often the case with shirting that is dressed hot, a few of the nails are withdrawn, and while the material is still dry ing it is stretched anew. Twill and linen are better in this re spect, and by reason of their roughness can be painted upon more easily; but then, on the other hand, they are heavy. For the distemper or ground pigment, whiting, light ochre, umber, and cassel brown, are most suitable. “ The whiting must be softened in cold water before being mixed, as also the ochre and umber, the latter, because of its tendency to swell, being allowed to remain immersed for a longer time. Cassel brown is purchased already ground in water, and if once allowed to dry, it becomes stony and insoluble, and con sequently altogether useless. When mixed with whiting it gives the most beautiful warm grey tones, and consequently I employ it very frequently. “ As binding material for the colours, I employ a warm solution of glue, containing about one pound of glue to a gallon of water, but the quantity of glue or size cannot be accurately defined, as it must be settled by experiment; still the character of the prelimin ary ground has a good deal to do with the amount of glue to be employed. A thin solution should be taken first, and mixed thoroughly with the colours ground in water, and then a trial should be made with the same brush and upon the same canvas which are hereafter to be used. If there is too little glue, the colour dusts off, or may give when rubbed with the hand; if there is too much, spots will be observed, and then more colour and water must be added, and a second trial made. When the mix ture is right, the surface will be even and uniform. The proper degree of thickness is soon found in working ; the addition of water doing little harm, especiallywhen it is luke-warm. “ The colour is applied with the brush in an even manner, and if on the first trial it is found that the colour sinks into the stuff too much, as is always the case with stout linen, it is necessary to give a preliminary coating of whiting and strong glue-water, the same being very well mixed to ensure a clean surface. The coating must be allowed to get perfectly dry before you proceed to colour the background, but if there has been much glue applied to it, it becomes hard and smooth ; if it has received but little, it will absorb more hereafter, and then the colour should contain an additional quantity of glue. To secure a fine ground, the canvas, after the preliminary coating has dried, may be rubbed with pumice to remove any loose fibres, and, after it is thoroughly diy, it may be uniformly coated with soft soap and water; in this way the most uniform tints may be secured.” Having now described the method of making a plain back ground, let us quote Mr. Ashman’s directions for making a graduated background in which the tint shades off uniformly between two extremes; and a portion of Mr. Ashman’s instruc tions are also applicable to the making of plain backgrounds. “ I will commence by supposing the photographer to have his canvas or other material already stretched ; this must be brushed over with a solution of common size, about three-quarters of a pound in one gallon of boiling water (this is to prevent the colour from going through); allow’ the ground to get thoroughly dry, during which time you can make the following preparations :— Rub very finely on a slab equal parts of blue black and whiting ; this we will call No. 1. Rub one part of blue black in two parts of whiting; we will call that No. 2. Rub one part of blue black with three parts of whiting; we will call that No. 3. Rub one part of blue black to four or five parts of whiting; we will call that No. 4. Boil one gallon of water with half-a-pound of golden syrup or treacle and a piece of size about as large as a man’s hand, for a quarter of an hour, then cool; this we call No. 5. Mix Nos. 1, 2, 8, and 4 with a little cold water in separate vessels, adding a sufficient quantity of No. 5 to attain the proper consistency for use : any suitable shades will do, but I think that the best blue black and whiting answer the purpose very well. The diffe rent shades being now ready, take a quantity of the darkest (No. 1) and lay over that part of the ground that is required the deepest, commencing at the top and working downwards; then follow with Nos. 2, 3, and 4, blending them into each other, according to the effect you require, with a brush known as a badger, used in graining, &c.; after which allow the ground to dry. When thoroughly dry it will be found difficult to injure it, and on rub bing the surface with the finger there will be no reflection or greasy appearance as in flatted backgrounds ; but, as a still greater preservative, it may be brushed over with cold water con taining a portion of alum ; this allows of washing the ground with soap and water without the slightest injury. It will be found better to give it two coats of the alum solution.” Various methods are in use for mounting flat backgrounds for use in the studio. Sometimes they are made to rise from the floor like window sashes, the exact balance required being obtained by counterweights and cords ; and at other times the frames are made to slide sideways in horizontal grooves. Mr. Bassano, in his Old Bond Street studio, has a background no less than eighty feet wide; this being mounted on two perpendicular rollers or re volving pillars, on each side of the apartment; of course, as it is rolled on one it is rolled off the other. Schaarwachter, of Berlin, hangs his backgrounds one behind the other on wheels, so that any one can be easily drawn behind the sitter as shown. The SCILAAnWACHFER's ARIANGEAEEXT VOn SHIFTING BACKGROUNDS. fram es do not touch the floor, and the two wheels run on a stout wire (a separate wire being provided for each screen). A narrow skirting-board covers the gap between the background and the floor. It is not an uncommon thing, however, for an experienced and able worker to strongly object to any arrangement for shifting backgrounds which in any way interferes with freedom in their use, and an arrangement like that shown in the subjoined cut, in STUDIO OF LANDY, AT CINCINNATI. which each background stands on independent feet, and can easily bo placed wherever the photographer may wish to have it, is a very general one with portraitists of eminence. Coming after the plain background, and its very near