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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. 1395, May 29, 1885
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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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348 THE PHOTOGRAPHIC NEWS. [May 29, 1885. by Mr. Harvey Barton is simple, compact, and efficient, and is too well known to need description. A great point in touring, either with or without a camera, is to have as few separate packages as possible, and hence it is advisable to have a light wooden box with divisions to contain the lenses, spirit level, if this is loose, and, if possible, the shutter, all these articles being thus kept together, and the risk of losing any of them diminished. The view-meter is of course carried in the pocket, ready for instant use. Development en voyage I regard as unnecessary and very troublesome, but the operation of changing plates is, of course, unavoidable. This is an operation over which many photo graphers give themselves a great deal of quite unnecessary trouble. 1 read, not long ago, of a tourist who carefully drew down the blind of his bedroom window, closed up the heavy window curtains, placed a mat against the bottom of the door, put out the light, and then got under the bed! Now, during the last autumn, I frequently changed plates in rooms in which there was sufficiently diffused light from the moon, or from lamps outside, to enable me to see every object in the room. Indeed, if I had wished, I could have changed my plates without using a lamp, and yet I had not a single case of fog, even with rapid plates. Of course the operation of chang ing is performed as expeditiously as possible, the plates being uncovered for only a few seconds ; and in order to be on the safe side the changing should be done in a part of the room not directly in front of the window. The lamp which I carry is made of cardboard, in the triangular form described by Abney (“ Instruction,” p. 277), each side being 8 inches high by 4] inches broad, hinged with black cloth, so that they fold together. The openings in the side are covered with one thickness of canary medium, the light being a small candle or night-light. The top of the lamp is a flat, triangular piece of tin which packs inside, and in the centre of which there is a circular hole for the exit of the products of combustion. The light passing through this hole forms an illuminated circle on the ceiling, but I have not found this to affect the plates. Exposed plates I re-pack in their original wrappers, or else in pairs back to back, with a sheet of “ Papier Joseph” between each pair, and orange or black paper over all. I do not find it necessary to put a label on each plate. It is my practice to carry a note-book in which I record the exposure of each plate, the lens and stop, subject, character of lighting. &c. The exposed plates are always taken out of the slides, and packed in the same order, a note being made on the outside of the packet; and when I come to develop at home, a reference to the note-book tells me at once what plate I am dealing with. The use of such a book minimizes the risk of double exposure, and the notes as to lighting, &c., are very valuable aids to proper development. The tourist will sometimes find it a great convenience to be able to transmit a packet of plates by rail, or, in country dis tricts, by parcels post, and this can be safely done if the packet of plates is put in a light wooden box, with a plug of paper at each corner to prevent shaking. My stock of fresh plates I keep in their original packages, packed in a wooden box in such a way that the plates rest on their long edges, care being taken that the packages cannot shake one against another. The lid of the box is secured by padlocks, and there is a strong handle at the top. During last autumn, my box of plates, packed in this way, travelled many miles by rail in Lincolnshire, and was subjected to the by no means tender mercies of country railway porters, booking clerks, carriers, and the like, without a single plate being broken. The box must be waterproof. Before leaving home it is advisable to make one’s self ac quainted with the maps and guide-books to the district to be visited, in order to obtain some idea of the character of the sub jects likely to be met with, and to form a general plan of the tour. It is not advisable, however, that the photographer should bind himself beforehand to arrive at or leave a particular place at a given time, for he will not unfrequently find that a place where he expected to meet with many pictures turns out to be very uninteresting; whilst another place which, perhaps, he had scarcely thought worth visiting, is unusually attractive from a photographer s point of view. If he is likely to visit old halls, or other residences which he wishes to photograph, it saves time, and possibly annoyance, to write to the occupier beforehand for permission, and the same course should be adopted in the case of cathedral precints and the interiors of churches. A case in my own experience will illustrate the way in which a photo grapher may suffer delay through neglect of this precaution. I was walking through one of the most famous parks in Eng land, and wished to take some views of the house and the park, and therefore went up to the house to ask permission. My ring was answered by an under-porter, to whom I explained my busi ness. He went off and brought back the head porter, and I explained my business to him. The head porter likewise went off, and after some time brought back with him the butler, and the explanation was repeated a third time. The butler, in his turn, went in search of his master, and eventually brought back the desired permission ; but the light had changed, and the pic tures were not satisfactory. Photographing views as they are met with en route frequently does not give the best results, and the tourist should, if possible, spend part at least of the first day after his arrival in a new district in making a reconnaisance without his camera, selecting his subjects and points of view, and deciding, as far as possible, at what time of day the light will be most suitable for each sub ject. It is easy to obtain small pocket diaries which give the time of sunrise and sunset for each day in the year, and with one of these, and a small pocket compass to determine the bearings of his subject, the photographer can readily calculate approximately the time of day when the sun will be in a posi tion which will give him the lighting he desires. In many cases, however, time will not permit of this, but if the tourist arrives at a place in the evening, there is often sufficient light left after he has refreshed the inner man to enable him to reconnoitre, and thus get a very fair idea as to the best subjects and points of view. When the photographer is limited to a certain number of plates each day, and is walking through a district with which he is unacquainted, it becomes a question as to how far he shall husband his plates in the early part of his day’s walk. Experience, not always of an agreeable kind, has taught me that a picture on the film is worth two in uncertain prospect, and now if I come across a really good subject a plate is exposed without any hesitation, on the ground that something a little better may possibly be met with later on the day. Of experiences and adventures, amusing and otherwise, every tourist has his share. Every photographer who has done much landscape work can remember occasions when he has waited half-an-hour, or an hour, or even longer, for the wind to drop, or the sun to come out from behind the clouds, and after all his waiting, has concluded that the conditions are as favourable as they are likely to be that day, and has made his exposure. Then, just as he is buckling the last strap of his camera case, the wind drops, not a leaf moves, and the sun shines out gloriously, but it is too late. Every photographer, too, has made the ac quaintance of the ubiquitous small boy who, even in the most out-of-the-way village, knows that you are “ takin’ likenesses ” as soon as you begin to set up your tripod, and forthwith sum mons a small crowd of his small companions to assist at the operation by their presence and remarks. Then there are un- picturesque members of the great British public, who illustrate the strength of human vanity by their anxiety to appear in a photograph which they will probably neither see nor hear of afterwards. These individuals, however, afford the photographer an opportunity of exercising his ingenuity in devising some plan of fooling them into a belief that their desire has been fulfilled, without, at the same time, spoiling his picture. A sham exposure, or a dummy lens at the side of the camera, as suggested by the writer of a recent article, or perhaps, best of all, a careful posing of the victims just outside the angle of view included by the lens, will in most cases get over the diffi culty, and even if the victims become suspicious, and ask anxiously, “ Have you got me in?”—the crafty but conscientious photographer can always reply, with perfect truth, “ 0 yes, you’ll come out beautifully and so they do. PHOTO-MICROGRAPHY BY LAMP LIGHT. BY W. H. WALMSLEY.* The difference between a photo-micrograph and a micro-photo graph is so clearly defined in the supplement to Worcester's Dictionary, that in view of the indiscriminate manner in which both terms are applied to the same subject by various authori ties, I am led to quote therefrom in the hope of adding my mite toward the establishment of uniformity in the meaning of the two terms. It is a matter of no great importance, to be sure, • A communication to the Society of Amateur Photographers of New York.
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