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The photographic news
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- 29.1885
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- Bandzählung
- No. 1389, April 17, 1885
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The photographic news
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THE PHOTOGRAPHIC NEWS, Vol. XXIX. No. 1389.—April 17, 1885. CONTENTS. PAGE Captain Abney’s Cantor Lectures 241 The Edinburgh Conferences on the Picturesque 241 The Death of George Swan Nottage, Lord Mayor of London... 242 De Neck’s Hat-Camera 242 Photographic Composites. By Francis Galton, F.R.S 243 Positives on Gelatino-Chloride of Silver. By W. M. Ashman and R. 243 That Dreadful Focussing Cloth: A Moan of One who has Suffered 246 French Correspondence 246 PAGE Patent Intelligence 247 Notes 248 Review : 23 Hardwich on the Ethoxo Lime-Light; with a Safety-Jet to Prevent Explosion. By T. Frederick Hardwich 2.50 On Platinotype. By J. S. Pollitt 252 Correspondence 188 Proceedings of Societies 254 Talk in the Studio 256 Answers to Correspondents 256 CAPTAIN ABNEY’S CANTOR LECTURES On Monday evening next, the 20th inst., at eight o’clock, Captain Abney will deliver the first of a course of two lectures on " Photography and the Spectroscope,” the date fixed for the remaining lecture being the following Monday, the 27th inst. The following is the syllabus of the lectures Lecture I. April iGth.—The prismatic spectrum and influence of the material on the spectrum. Dispersion and resolving power. Uses of the slit and collimator. The spectroscopic camera. Application of photography for in vestigating the spectruru, and of the spectrum for inves tigating photography. Lecture II. April 27 th.—The diffracture spectrum. The ordinary grating. Influence of the number of lines on re solving power. °lhe reflection grating. The flat reflection grating. Absorption of radiation and atomic motion, and the formation of the photographic image. Although these lectures are primarily intended for the members of the Society of Arts and their friends, the Society of Arts has always been liberal in admitting out siders who are likely to profit by the instruction offered, so we may hope that any reader of the News who may wish to attend, will be able to gain admission by writing to the Secretary, Mr. H. Trueman Wood. THE EDINBURGH CONFERENCES ON THE PICTURESQUE. In our “Notes” of last week, we alluded to some of the advantages resulting from the system initiated by the Edinburgh Society. It is very difficult for our readers to thoroughly realize the great interest taken in the discussion by those present at the conferences, and it is only the fact that it is not practicable to reproduce the pictures them selves that prevents us from reproducing the discussions in full. The following extracts from remarks made by Mr. Mac beth are interesting in themselves, and carry instruction, even although the subjects criticised are not present to the reader 11 Photographic Portrait of an Elderly Gentleman, seated, a Table with some Large Looks on it at his Back, close to his Chair. A Three-quarter Length down to the Knee, most likely from a Wet- Plate Negative. "Ido not imagine that the photographer could claim the merit of arrangement here. It seems so natural, and so consistent throughout with the feeling expressed. I think it is most likely this position was taken by the person himself. Only the operator has shown not a little skill in the choice of point of sight, and the particular point to which the sitter should turn his eyes. There is perhaps no more important matter than for the sitter to be well directed where to look. The eyes here are a little off the plane of face, This gives a slight feeling of re serve, not staring, not forward, but retiring and reticent. Very possibly this also came direct from the person’s own act, but what ever be the cause, it is extremely good, and in beautiful harmony with the subject. " What leads me to suspect that the operator had not much hand in the arrangement of his subject, is the ‘ do no better ’ of placing the table and books behind the back of the sitter. This should not be. The subject having been placed so much in the centre (this being thought to be necessary), the operator was obliged to fill up the space behind the chair. In my opinion it would have been better to have placed the sitter nearer to the boundary line, and filled up the gap on the other side by the same accompaniments. As it is, the line of the leg is not sufficiently extended. “Another thing which leads me to suppose the operator did not interfere with the person’s own action is the beautiful uncon scious position of the hands. Fortunately, by their being so little seen and so quiet, great prominence is given to the head. There is nothing so perplexing at times, either to the operator or the sitter, as to know how to place the hands. One is always safe when the sitter naturally places them together. They should either be thus, or very widely apart; in either case they are less distracting to the spectator. If apart, and within afoot from each other, the effect is bad, and generally this is the re sult of not knowing where and how to place them. It is im portant also to notice that when the figure is sitting in a three- quarter point of view, the hands (where they come in) should not be directly below the head. This gives repose to the more important part—the seat of intellect. “ En Beconnaisancc by Edouard Metallic. From a Photo-Gravure by Gougiil and. Co. “ This street scene during the Franco-Prussian war affords, as a piece of composition, many valuable examples of careful study, both in spirit and design. We feel at once in the presence of some very awful and stirring incidents. I have no doubt the elements of the composition were all carefully gathered, not from one scene, but from several, and compiled so as to embrace all that was dramatic, and thoroughly telling the story of the conflict. “ I do not know the name of the street. It bears the impress of being some of those lanes in the suburbs of Paris. In the distance is seen a French officer on horseback and his regiment making their appearance. A little farther on towards us are seen two bodies of men—French soldiers, coming into the street from both sides. The French at this moment are evidently masters of the situation. At the window, in the white house, we see its inmate on his guard looking out. Near him are two men looking over the wall, and cheering those entering on the scene. A little to the right are two boys dreadfully frightened, creeping along by the wall. Towards or near the centre is the p.incipal group of eight soldiers and a boy. They have passed on their left a wounded German sitting up holding his wounded arm, and approach on their left, probably an Uhlan apparently dead, lying over his wounded and dying horse. To the right of the principal group a most touching incident is depicted. A
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