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The photographic news
- Bandzählung
- 29.1885
- Erscheinungsdatum
- 1885
- Sprache
- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- SLUB Dresden
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- Public Domain Mark 1.0
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- http://digital.slub-dresden.de/id1780948042-18850000
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- oai:de:slub-dresden:db:id-1780948042-18850000
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- Seite I-II fehlen in der Vorlage. Paginierfehler: Seite 160 als Seite 144 gezählt.
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- Parlamentsperiode
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- Wahlperiode
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- Bandzählung
- No. 1391, May 1, 1885
- Digitalisat
- SLUB Dresden
- Bemerkung
- Paginierfehler: S. 287-288 als S. 269-270 gezählt
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- Ausgabe
- Parlamentsperiode
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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
- The photographic news
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May 1, 1885. j THE PHOTOGRAPHIC NEWS 285 In reply to Professor Young’s communication, T would say that ths precaution to which he refers was carefully attended to, and that all the plates employed were backed the day before the eclipse with asphalt varnish. It would be very interesting to know how far the corona, as photographed by Dr. Huggins, ex tends from the sun : for a very long exposure would probably mask the real phenomenon ; one that was very short would be insufficient to obtain an impression of it. My exposures were so timed, that by a long development, the darkening could be traced to a distance of •8 of the sun’s diameter, while, with a short development, the darkening only reached to - 2. But in no case could any particular rays be identified in the different photographs. Wm. H. Pickering. A ROCKING APPARATUS FOR USE IN DEVELOPING DRY PLATES. BY DU. J. M. EDER. In developing gelatine-bromide plates, the vessel contain ing the developer should be kept in motion, particularly when the amount of developer is small. Automatic rocking apparatus make the temporary ab sence of the operator practicable, and hence may be of value not only in large establishments, but also for amateurs. I have therefore no hesitation in calling attention to an arrangement made by Herr Braun, of Berlin, and which was much appreciated by the visitors to the Frankfort Exhibition ; and as Herr Braun was good enough to send one to Vienna, I had an opportunity of exhibiting it at the general meeting of the Photographic Society in this city. The apparatus is, as the figure indicates, screwed upon a table, and it consists of an iron plate having two V-pieces, in which work the knife-edges of the pendulum. Over these knife-edges is a small round platform, upon which the dish stands, and there are steadying pieces, which slide on iron rods, as shown in the figure. When once the heavy iron pendulum is set in motion, it remains swinging for a long time. THE INFLUENCE OF PHOTOGRAPHY ON POPULAR TASTE AND THE GRAPHIC ARTS. BY .1. S. POLLITT.* Those who have studied the history of our country during the already expended portion of the present century— and for that matter 1 may say all civilised nations during the same period— will readily recognise the fact that immense changes, chiefly noticeable in the manufacturing and commercial districts, in the habits, manners, and even bent of thought, have taken place • Abstract of a communication to the Hyde Amatenr Photographic Society. amongst the people ; and it further requires no great penetration to trace these rapid marches in the progress of civilisation and growth of intelligence to the wondrous—and it may also be said unprecedented—development of the arts and sciences during the aforesaid brief space of time. Forty years ago the pnblic were only just being made aware that a process, apparently to many minds miraculous, had just then been so far made practicable that by its means both land scape and portrait pictures could be produced in an incredibly short space of time, without the aid of either pencil or crayon, and yet with a fidelity to nature, as to truthfulness of outline and minuteness of detail, which the most sanguine student of art had never before dreamt of as approachable, much less possible. Many curious speculations arose in the untutored but inquisitive as to the cause which could produce such marvellous effects ! The camera, when seen at work, was often looked upon as a box containing some occult arrangement of mechanism which did its work in some inexplicable way ; but then the mystery was, how could the machine make a picture when there was no actual contact with the subject ? In the old silhouette machine, at one time so extensively used at country fairs and wakes, in making the black and gold pictures then in good demand by the working-classes, the principle was simple enough to the most ordinary mind, the outline being produced by a lever, one end of which, being run round the contour of the head and face in profile, the other end of said lever which passed through an universal joint, finishing with a finely-pointed pencil which reproduced the tracing on a proper scale on a piece of cardboard brought in contact therewith ; but the making a picture in which all the minuti of detail was faithfully copied from the original by the mere operation of pointing a lens and a dark box to the model, was a phenomenon which the uninitiated could not understand ; and at this point I am tempted to relate one of my own photographic experiences. When working in a country village, where, mayhap, the schoolmaster had been a good deal abroad, I was quickly surrounded by a group of wpndering onlookers, amongst whom was an old man whose mind was not a little exercised by t he novelty of the operation. After, however, cogitating the matter over for some time, and assisted, probably, in the solution of the difficulty by some hazy recollection of the Scriptural narrative of the spontaneous opening of the iron gate of the city on the occasion of the Apostle Peter’s liberation from prison, he arrived at the—to his mind—satisfactory conclusion that the machine did it of its “ own accord,” and forthwith com municated the said discovery to his companions among the by standers. The desire to perpetuate the facial lineaments of individuals in the minds of their friends and posterity has been a sort of weakness, if it may be so called, amongst both civilised and semi-civilised nations in all ages, and it is to this ruling passion, as exhibited in the rude pictorial productions of the ancient Egyptians, long befoie the era of letters, that we have been enabled to obtain glimpses of the manners and customs, and even the domestic life, of a people in pre-historic times. The art of delineation, which in its earliest stages made its appear ance in such a grotesque and primitive fashion, would naturally keep pace, in its devel pment, with the progress of time and the march of civilisation until it attained the high state of perfec tion displayed in tl e productions of the great masters of the Italian, German, and other schools, which flourished between the thirteenth and sc venteenth centuries of the Christian era. In the nature of things, however, the influence of these grand works in refining public taste was extremely limited; their great scarcity, and the high value at which they were appraised by those who owned them, were sufficient reasons for shutting them out, to a large extent, from constant inspection by the multitude, and hence it came to pass that among the labouring, the artizan, and even the middle classes, artistic taste and judg ment remained, until a very recent period, at an extremely low point; pictorial surroundings of some kind in their houses they must have, but in many cases such works were striking exam ples of bad drawing, and worse composition. It is true that miniature portrait painting, both on paper and on ivory, had in some hands attained a high state of perfection, but the price for really good work was very high, and kept it out of reach of all but the wealthier classes. • The Woodbury, the Autotype, and many other mechanical processes, which may be said to be mainly photographic (as the printing table or block is made directly from the negative) are processes now extensively employed both in book idustration and other forms of pictorial representation, and have all the
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