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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. 1391, May 1, 1885
- Digitalisat
- SLUB Dresden
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- Paginierfehler: S. 287-288 als S. 269-270 gezählt
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Zeitschrift
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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- Titel
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May 1, 1885.J THE PHOTOGRAPHIC NEWS. 279 Every necessary detail is explained here, and if followed closely, failure is impossible, and will be found, after one rehearsal, a rapid and extremely simple method. THE COMBINATION OF PHJTOGRAPHY WITH TRICYCLING. BY FRANCIS COBB.* Most of us, no doubt, have experienced the desire, as our machines have passed some pretty and specially picturesque bits of scenery, to take away with us some memory to be recalled at some future time of what we were then passing by, and most of us have also experienced the difficulty, as one picturesque scene is replaced by another, and so on to the end of our journey, of preventing the many scenes getting somewhat blended iu our minds, and an inability to reproduce details with accuracy. To sit down aud sketch such scenes would be to reduce the journey to a sketching tour, and the distance to be covered must be re duced accordingly, thus depriving the ’cyclist of the usefulness of his machine. That which the tourist desires may be accomplished by the aid of photography, and the whole addition to the impedimenta of the ’cyclist can be so arranged as to be trifling. The best machine, in the opinion of most who have discussed the matter from a photographic point of view, is the Coventry Rotary, but to my mind it is a question whether the Sparkbrook should not be looked upon with more favour from a photographic aspect. The rear-steerer, as ordinarily made, has set ions disadvantages, as it is never a double-driver in the truest sense of the word ; but its construction is certainly convenient for luggage carrying. Some persons contend that its most serious disadvantage—the risk of losing the steering—is almost balanced by putting the photographic luggage so that it shall bear principally on the back wheel; but how far this is the case depends largely on cir cumstances. The apparatus consists of tripod, camera, and case. My camera, with leather case aud provision for exposing a dozen 5 by 4 plates, weighs between fourteen and fifteen pounds, and as it is before you you can examine it for yourselves. The effects of vibration are serious, and I deprecate the use of the clip on the wheel, or even on the steering-bar ; but much prefer to use a tripod. I have endeavoured to show, in the brief space of time at my disposal, how the enjoyment of a ’cyclist’s ramble may be en hanced by that most wonderful combination of chemistry, optics, and mechanics, which has resulted in placing the science of photography within the reach of the amateur. When we have imprisoned our sun pictures aud have them safe, latent, though invisible, intangible, aud impalpable to any of our senses, we may at our leisure (it may be months after)— by means of those marvellous chemical affinities which throw the haloid salts of silver again into chemical life—produce on the films the pictures wo have so desired ; and then again, by further use of the light, we print our scenes on the sensitive paper. We have then a pictorial history iu our albums which will recall the pleasant memories of happy flays spent long, long years ago. „ * Read before the Society of ’Cyclists. T Beau before the Bristol and West of Englund Photographic Association. PRINTING-IN CLOUDS IN LANDSCAPES. BY E. BRIGHTMAN. In comparing good landscape photographs of the present day with those of fifteen or twenty years since, the one point of superiority most noticeable in the modern photographs is the introduction of clouds. No landscape will now pass muster unless clouds in some form or other are introduced. In the earlier days of photography the aim of landscape photographers was to obtain a dense sky in the negative, which would give a dead blank space of white in the print, and in cases where from accident the sky was thin it was a common practice to block out the sky with a mask of paper or black varnish. The use of gelatine plates has doubtless, to a considerable extent, led to the introduction of clouds in our pictures, for fairly lighted and well defined clouds are readily obtained in the same negative as the landscape, provided such clouds arc present at the time of taking the picture. Unfortunately, however, it is rare that suitable clouds are present when a negative of the landscape is taken, for as a rule, when fine masses of effective clouds are drifting about, the wind is usually so high as to preclude the possibility of landscape work, and on the calm still days best suited for photography, the clouds are absent. We have therefore to adopt the method of printing-in the clouds from separate cloud negatives. The first point necessary is to obtain a good series of cloud negatives, not being contented with a solitary plate or two made to do service for all classes of subjects. A series of forty or fifty should be kept on hand, and even with this number it is not an easy matter to get up (say) a dozen pictures for exhibition, each with a different sky, and each sky suited to its respective picture. I find it is an excellent plan to have a number of cloud negatives considerably larger than the sizes in general use ; for example, a 12 by 10 plate comes in well for printing clouds on 7} by 5 or whole-plate pictures. The print can then be placed exactly in the position to print the portion of cloud most suited to the picture ; whereas, if the cloud negative and the print are both the same size, we are re stricted to one position. In order to select the cloud negative best suited to the print, I hold the negative up to the light, and, placing the print behind it, change the position of each till a suitable portion of cloud covers the required space on the print. In some cases it may be necessary to examine a dozen or so of cloud negatives before finding the one best suited to the land scape. It is always advisable to number all cloud negatives, aud keep a note of what number is best suited to any given picture. As an example of the superiority of pictures with clouds suit ably adapted to the subject, I have here three prints from the same negative of Lynmouth Harbour, No. 1 without clouds, No. 2 with clouds not particularly suitable for the subject, and No. 3 with a mass of fine storm clouds exactly in keeping with the class of picture. Oue glance will show the necessity of judgment in selection of the cloud negative. Cloud negatives for printing-in should be thin, soft, and deli cate, and any gelatine plates which do not give sufficient density for ordinary work may be set aside aud reserved as particularly suited for this purpose, as on no account should development be pushed too far, or the resulting negative will be far too dense for the purpose of printiug-in ; for it must be borne in mind that any approach to hardness will necessitate long printing, and thus in crease the difficulties of avoiding a line at the junction of the horizon and the sky, and the results will also be harsh and unsatis factory, and, instead of improving the landscape, may detract from its merits. Softness and delicacy of gradation are the two points to be aimed at, any striking and violent contrasts, except for special effects, being decidedly objectionable. Having obtained a series of cloud negatives, the printing-in is a matter of little difficulty if set about in the proper way. The method usually recommended is to cut a paper mask with which to cover the print while the clouds are being printed in. With the paper mask, however, I find there is always a difficulty in avoiding a more or less distinct line showing the junction of the clouds with the landscape. Clouds, when properly printed in, should show no lines or indication of the join, and be, in fact, distinguishable from clouds taken with the landscape. My method of working is as follows. I keep a perfectly level drawing-board covered with a thick layer of soft felt. After selecting a suitable cloud negative, the print is placed face upwards on the felt pad, and the cloud negative, which is con siderably larger than the print, is carefully adjusted in the re quired position over it, some lead weights being placed on the ends of the plate to hold it in place. A thin board or sheet of card is then placed so as to cover the landscape to within about an inch or so of the horizon. A soft silk handkerchief or towel is then placed with the fingers so as to follow as closely as possi ble the outline of the landscape. The whole is then exposed to the light, and the edges of the towel slightly moved every few seconds, constantly varying the outline, and thus avoiding any sign of the junction in printing. A little practice soon renders this a simple and easy matter; in fact, it is more difficult to describe than to do. This detailed description may lead to the conclusion that it is a matter occupying a considerable time, but I find I can attend to three or four prints at the same time, and as the printing from a thin cloud negative iu a good light takes not more than five or six minutes, at least ten or a dozen prints may be done in half- an-hour.
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