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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. 1397, June 12, 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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June 12, 1885.] THE PHOTOGRAPHIC NEWS. 371 and I verily believe that the photographer will find the sulphite the cheaper to use in the long run. Ihave devoted three articles to the subject of the use of this salt, and probably the reader of the N EWS will consider it worked threadbare. I am not quite sure, however, that it is, as a new feature in connection with it has arisen during my experiments, and which 1 may describe at some future time. My wish is, however, for the present, that photographers should try the salt as a fixing agent, and give a report as to its merits or demerits, whichever it deserves. I may add that the toning must be carried a little further than with hyposulphite. ebiew. The Studio : and What to do in it. By H. P. Robinson- 143 pages, small octavo, paper covers ; price 2s. 6d. ^London, Piper and Carter, 5, Castle Street, Holboru, F..C.) HEIE we have in the main a reprint of matter which has appeared in the PHOTOGRAPHIC News, but with the addition of some original chapters ; and those who wish to gather useful hints on studio management at the same time that they are being gratified by reading a. pleasantly-written gossiping little book, would do well to make themselves acquainted with what Mr. Robinson has to say. , In the final chapter “ The Education of a Photographer,’ Mr. Robinson says: — “ I believe that a profound knowledge of the science of photo graphy eitherin some way cramps the artistic faculty, or, what is more probable, shows an order of mind to some extent inimical to a feeling for art; .... it is the picture-making power of his art, itsscapaci Y for producing pictorial results, results than can be .exhibited and, I may add, sold—which is Oftenest neglected, but should be the photographer’s chief study if he is to put the art to its natural use. ’ J A less plain-spoken person than Mr. Robinson might have hesitated to so candidly recite his photographic creed ; but after the above open-hearted avowal on his prt, we can quite understand how it is that he does not in this chapter refer to or seem to appreciate any educa tional value which the thirty or forty existing photographic periodicals may possess. — o WIDE-ANGLE LENSES. BY II. CHAPMAN JONES. We hear so much from time to time about the evils at tending the use of wide-angle lenses, how that they destroy pictorial effect, distort objects, and set decent perspective at defiance, that any unknowing one would imagine he were doing photography a service by remov ing such instruments from the face of the earth. May I suggest that although the expression “ wide-angle lens ” is correct enough trom the optician’s point of view as de scribing what he can supply, the angle of the lens need have nothing to do with the angle of view in the picture, and that it would bo just as reasonable to exclaim against the use of largo plates as against the use of wide-angle lenses. I am not referring to those photograph makers who value their prints (perhaps correctly) at per square inch, or per square foot, as the case may be; but to the honest worker who is willing to make everything he has at command subservient to the production of the best results ; to such 1 would say — Do not trouble about the angle of your lens, or think that till you have a battery of lenses your work must necessarily suffer. It is not the lens at all, but the point of view that determines whether the perspective shall be pleasing. Therefore, although you have but one lens, choose your point of view, and determine how much of what you see will make the best picture, without letting the capabilities of your apparatus trouble your mind at all; and keep your view-meter, if you have one, in your pocket. Having fixed the position that is best, mount your camera there, and if your lens will only give a part of the picture on the plate, you cannot by any coaxing get that picture, and you suffer the disadvantage of having only one lens. But in by far the greater number of cases, if your lens has what the opticians call a moderately wide- angle, you will probably find that the picture fairly covers the plate, or else covers only a part of it. In any such case take the picture as you stand, for your aim is to get the picture rather than to cov< r a certain surface with it. If the picture is—for example—as photographed only 3 by 2, though taken on a half-plate, there is no waste, for you have the picture. When enlarged this will give the same picture as, if taken direct with a longer focus lens, from the same point of view. Granting the covering power, every lens will give the same picture from the same point of view; and the focal length of the lens will decide what size the selected view is reproduced. Or, in other language, if from a given point of view you have got a bad picture, the point of view is at faidt, and not the lens ; a lens of different focal length would give the same bad picture, but larger or smaller as the case might be. Or, again, varying the sizes of your negatives, though not necessarily the plates they are taken on, is equivalent to having the use of a battery of lenses. THE AFTERTREATMENT OF NEGATIVES. BY JOHN WERGE.* The subject I intend to bring under your notice to-night is not new, nor do I hope to be able to place before many of you any thing that is entirely novel in the after treatment of negatives, but I have sometimes been surprised to find that many things in the practice of photography that were old to myself were new to others. For example, some one has recently been to the Patent Office with a method of vignetting in the camera, although I had published, as far back as January, 1865 (PHOTOGRAPHIC News, p. 39), six different methods of vignetting negatives in the camera —at the time of sitting—that is, prior treatment of negatives ; but I have found it needed the same in the after treatment of negatives. Long before the introduction of the Lamberttype process I was in the habit of treating negatives in a similar manner, both as aids to the proper translation of colour, and in improving the effects of light and shade obtained in the camera. Here is a print from a negative slightly retouched both back and front, and here is a print from the same negative when the after- treatment was completed. I need not ask you to mark the difference, for that is obvious. Here is the negative with its paper backing, and example of after-treatment. The paper is damped and fastened down at the edges, and, when dry, it is as tight as a drum-head, and fits close to the glass. The effect is worked in with a stump and fine blacklead. This mode of treatment lengthens the time of printing a little in diffused light, but in direct sunlight it is quicker and better. For sur face retouching I prefer and recommend the use of a thin white paper to receive the work, instead of working on the film itself. By that means the negative is not irretrievably ruined or the likeness lost, and almost any negative can be printed with a thin layer of paper between, and be better protected, and will in consequence yield a greater number of prints. I made many experiments in that direction when the late M. Salomon’s prints were first exhibited in London. There is another mode of after-treatment I should like to show you, and that is one that has not been employed so much as it might or ought to have been. When others were introducing natural backgrounds in the pictures by double printing, I was putting various backgrounds on the negative by an after-process, thus saving a vast amount of labour. Here are examples. The process employed was bichromated dextrine and plumbago. I will now, if you please, say something about the photographic translation of colour, and the after treatment of negatives relative thereto. The heraldic engraver translates colour accord ing to rule, thus:—argent or white by white paper, d’or or yellow by dots, gules or red by perpendicular lines, vert or green by diagonal lines, azure or blue by horizontal lines, and sable or black * Head before the Photographic Society of Great Britain.
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