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The photographic news
- Bandzählung
- 29.1885
- Erscheinungsdatum
- 1885
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- Englisch
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1385, March 20, 1885
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The photographic news
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Band
Band 29.1885
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- Register Index III
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Band
Band 29.1885
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It is not the province of an article like this to enter upon a long disquisition on the histological structures forming the skin proper, but it may render this Dallastint more readily understood if, in explanation, I say that this cuticle is peeled off from the surface of the subject, and mounted for the microscope with its under surface upwards towards the eye of the observer. The pits seen covering the sketch are occupied in their normal state in capping an immense number of the sensitive papilla of the true skin, and acting as a protection to it. The hairs covering the skin are formed by buds springing from the bottoms of pouches which are formed from an inversion of the surface, and are seen as projections in the sketch, while scattered about may be noticed numberless black spots having a light ring sur rounding them ; these are the pores of the skin, and are the openings through which the perspiration exudes. I think these few remarks will enable some of the anatomical details present in this sketch to be readily made out, and thus I leave it to the indulgence of my readers. PRODUCING FLORAL BORDERS TO VIGNETTE PORTRAITS. BY R. STANLEY FREEMAN.* In the PHOTOGRAPHIC News of the 5th December last, a para graph appeared in the notes to the effect that “ it is curious, considering the thousand-and-one purposes to which photography has been turned, that no one has ever thought of adapting it, as regards portraiture, to Christmas cards. Photographs on Christ mas cards are, of course, no novelties ; hut to send one’s portrait surrounded by a tasteful border, and accompanied by an ap propriate sentiment, has not been done. This statement is only true to an extent, and the idea may have been conceived and carried out by more than myself, but not, perhaps, in the manner I am about to explain. Some years ago there was issued a series of mounts for C.D.V. portraits, the borders of which consisted of embossed flowers in colours, after the manner of valentines. In the centre of each mount was an oval opening to show the head and bust portion of a photographic portrait. They were certainly very pretty and effective—so effective, in fact, from the extreme brilliancy of the colours, that the photograph was completely killed, even a well coloured portrait being put in the shade. Since then there have been numerous other examples of floral mounts, but the same objection has applied to them—too great a brilliancy of colour. With this drawback in mind, I cast about for a means of pro ducing a more subdued kind of border, which, while faithfully representing the natural flower and foliage, would at the same time, harmonise with the tone of the portrait. After many failures, which I need not enumerate, I succeeded in accomplish ing my desires. My first attempt was with the natural leaves of ferns ; but I found that by the time I had adjusted them to my satisfaction and was ready to photograph them, they became too limp for the purpose. 1 therefore fell back upon artificial fronds. Having found the ferns a great success, I essayed other foliage and flowers, and found them equally successful. Most people, especi ally ladies, have their favourite flowers, and as there is no limit to the number or variety of the designs, a little trouble and no great expense puts one in a position to gratify most tastes. As with my first attempt with the ferns, I found natural flowers flag before I could manipulate them. I consulted an artificial florist, who, entering into the spirit of my requirements, made me up such wreaths as I desired, according to instructions and designs furnished. Artificial flowers, too, are more capable of arrange ment, and maintain their form for any length of time, and when done with photographically, convey joy to the heart of your wife as trimmings for her own and dauglier’s bonnets and hats. I can remember my forget-me-not wreath adorning the broad-brimmed Leghorn hat of my little daughter, and a more pretty and chaste trimming I never saw. Now for my modus operandi. Having obtained a wreath to my satisfaction, I monnt and arrange it on a large sheet of white card board. This I set up on an easel (I prefer an easel as being handy to move about for the purpose of dodging the light). The focussing and exposure I need not enter upon, the only difficulty, after the proper lighting, being in the development. In the re- ° Abstract of a communication to the Newcastle-on-Tyne and Northern Counties Photographic Association, suiting negative the wreath itself is not required to be intense, but the centre and outside edges must necessarily be so, to avoid degrading the whites of the portraits in the subsequent printing in ; and here I am in doubt as to the adaptability of gelatine plates to the purpose, not having tried them. The difficulty I allude to can only be got over by local intensification after development. All who have worked the collodion process know that by pouring the pyro and citric acid intensifier on and off a certain spot, that spot or portion can be intensified to any extent without materially adding to the density of the other portions of the negative ; hence I found that by a little practice and sleight-of-hand work, I could accomplish, with just a failure now and then, the object required, without any after dodging of the negative. Having obtained your negative of the wreath, you place it in the printing-frame, and, holding it up to the light, superimpose the vignetted portrait upon it, and proceed to print in the usual manner. Copying painted designs and drawings I have not found satis factory, as there is a flatness and want of solidity about the result; the portrait appearing far in advance of the border, and not behind or in the same plane, as the case is when a natural or artificial wreath is used. As I before suggested, when once you have the idea, there is practically no limit to your designs. Another very pretty effect is obtained by making a rough wooden frame, shaped like an Oxford frame, and covering the face or front with virgin cork. To the cork you attach your wreath, either trailing around it, or in such other manner as may suit your fancy. Place this frame against a white background, and make your negative. Having printed your portrait, proceed as with the wreaths, and the result is a portrait mounted in a pretty and rustic frame. Yon may obtain a similar result by placing your sitter behind the frame, but the effect is not so good, and you cannot obtain so clean a vignette in the centre. I can show you an example of the frame and portrait done at one operation, and against a dark background, but the effect is nothing like as good and chaste as when printed in with a vignette portrait in the centre. o— AIDS TO CORRECT EXPOSURE. BY W. GOODWIN." With good plates and intelligent development, a practised photo grapher may, within certain limits, correct the effects of over- or under-exposure, but there is a correct exposure, and you cannot trespass very far on either side of it without sacrificing some thing in the resulting negative. The factors which govern exposure are : the subject of the picture, the lens and and its aperture, the rapidity of the plate, and last, but not by any means least, the quality of the light by which the work is to be done. Let us consider each of these separately, and see if we cannot reduce any of them to rule. In this respect, the subject will be intractable. Scarcely two subjects will be found to send exactly the same amount of light through the lens. However, a broad classification may be made, and this has been done by Mr. Burton in his table of comparative exposures. A glance at this table will show how greatly the character of the view may influence the time of exposure. The first aid I have to suggest is the use of such a table as Mr. Burton’s, and the first step is to rule a page of your note-book into ten columns, and head each as Mr. Burton heads bis. Before we do anything more in this direction, we must con sider the influence of the lens and its diaphragms. In theory, the single landscape lens is more rapid than the doublet of equal aperture ; but the difference is so little that it may be disregarded in practice, and my remarks will apply to both. The rapidity of a lens depends mainly on its aperture and its focal length. Thus a lens of 2 inches focus will require four times the exposure of a 6-inch, with an equal sized diaphragm, and a quarter inch diaphragm will require four times the ex posure of a half-inch when used in the same lens. The Photo graphic Society of Great Britain have recommended that the diaphragms of all lenses should bear such relation to the focal length that each should require exactly double the exposure of the next smaller. Now, if we turn again to Mr. Burton’s table, we shall find that it is constructed on this principle, and that each stop is * Abstract of a paper communicated to the Glasgow and West of Scotland Amateur Photographic Association.
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