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The photographic news
- Bandzählung
- 29.1885
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- 1885
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1397, June 12, 1885
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The photographic news
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Band
Band 29.1885
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- Register Index III
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372 THE PHOTOGRAPHIC NEWS. LJVXE 12, 1885. by vertical and horizontal lines combined. The line engraver translates colour by a combination of rule and art, more art than rule, and the mezzotint engraver translates colour by a series of tints. So does the photographer, with this difference—he has little or no control over his tints, unless he resorts to some prior or after mode of treatment. In the old Daguerreotype days the skilful photographer had considerable control over the prepara tion of his sensitive plate, and could, by charging his plate with various proportions of iodine and bromine vapour, regulate its sensitiveness and character to suit the complexion and dress of the sitter. When a “red coat ” presented himself, the plate was charged with as much bromine as it would carry, so as to obtain the best translation of the prevailing colour, and to assist in the after colouring. I had recently a Daguerreotype copy of Frith’s “ May Day, ’ which exhibited a better translation of colour than any collodion negative could yield. In the wet collodion days, imperfect translation of colour was largely due to under exposure, either through the premature drying of the film, or indifferent lighting of the picture. Now that the gelatino- bromide dry plates are chiefly in use, there is less necessity for under-exposure, and better translations of colour can be obtained. For all that, the camera will not translate colour properly, and after-treatment is absolutely necessary. Here is an example. These colours are placed in the order of their luminosity, and ought to be translated by a succesion of deepening tints, accord ing to this scale. But this is what the camera does—the darkest tint but one comes out the lightest, and I fear that there is no remedy for that but some mode of after-treatment. Much has been said about employing complementary colours, in the torm of colour media, in copying paintings, but that is more easily said than done. It is an easy matter for any one that is not colour-blind to ascertain what is the complementary of any colour, but it is not so easy to find an equivalent in any of the transparent colours of commerce. It is all very well to say that red is the comple mentary of green, and blue the complementary of yellow, but every shade of red, blue, and yellow has its own complementary tint, and there lies the great difficulty of making use of our knowledge of complementary colours in copying paintings. I have made some experiments in that direction, and will show you the results. This picture, purposely selected for its great contrast of colour, proclaims aloud what is the complementary of its prevailing hue, and I have photographed it without and with its complementary. There is a print from the nega tive taken without the complementary Colour intervening— in its normal condition it is flat and monotonous ; and here is one from the negative taken with the complementary colour intervening. But here it is quite evident that what is good for the goose is not equally good for the gander. The artist has employed the complementary colour, green, for a background to this brilliant red stocking, but, as the intervening tint has deepened the original green one, the detail of this part of the pisture is not rendered at all, although the exposure was four times longer than that given for the negative without superven tion. That is not the only drawback attending the employment of intervening media. In this negative the image is doubled, though I used glass of a pot-metal colour, and if a flashed glass had been employed the refraction would have made the picture almost unrecognisable. The third print of the same subject is from the first negative after manipulation, as previously ex plained ; and in this you will see that the artist’s ideas of colour, light, and shade are much better interpreted than in the print from the negative in its normal condition. In proof of this I will just call your attention to oue or two points in the original picture. Look at the leg on the step. The artist has made that a warm luminous mass, relieved by a cool green, and if an engraver had translated those colours he would have made the leg the lightest tint, whereas the camera produces the reverse effect. To remedy this photographic contradiction, I have re sorted to after-treatment, and, I think you must admit, with some success. From these experiments I am satisfied that not much is to be expected in translating colours photographically, either by the interposition of coloured media, or the addition of colours or eosine to the emulsion ; and I think the best and surest way is to obtain a good fully-exposed negative on a gelatino-bromide plate, and endeavour to assist the shortcomings of photography by careful and artistic after-treatment. Of course, the better that is done the better will be the result, and a better translation of colour will be obtained; but neither photographic, lithographic, or mezzotintic translation is, or ever will be, equal to that of line engraving. The silvery lines that run and play through the shadows of a line engraving convey to the mind an idea of beauty, depth, and transparency, that no tint, or series of tints, can possibly accomplish. The most that can be hoped for in photographic reproductions of paintings is an imitation of a good mezzotint engraving, and if photographers wish to compete with engravers in the reproduction of paintings, they must pay more attention to the true translation of colour by some such mode as I have indicated and endeavoured to illustrate. HINTS FOR SUMMER WORK. BY W. M. ASHMAN.* The greatest charm photography seems to possess for the beginner lies in its power of enabling him to pictorially represent any sub ject of passing interest without very much apparent exertion on his own part, either mentally or of a physical nature. Such pleasant pastimes as the production of silver, Platinotype, and carbon prints, phototype blocks, Woodburytype, photo-litho- graphic transfers, zincography, and other mechanical printing methods, transparencies, enlargements, emulsions, ceramics, microscopic and lantern slides, &c., follow by degrees, and in the end prove to be equally attractive ; but the man who expects to practically, as well as theoretically, master all these subjects, say within a few months of acquiring his first kit and receiving the usual free lesson, would have to work very hard indeed, and it is possible his project would be abandoned in sheer bewilderment or exhaustion. Nearly all, if not the whole, of the processes alluded to can be shown to be influenced more or less by atmospheric con ditions ; those in which gelatine is employed as a vehicle causing the greatest amount of anxiety. Year by year the many diffi culties surrounding the successful manipulation of these processes have been gradually reduced, thanks to those practical men who have devoted their energies thereto; notwithstanding all that has been done, the conditions necessary to success are even now suffi ciently numerous to induce a feeling of unfitness on my part to enumerate them ; I will pass over the hot water, ice-well, and cold-air arrangements of the emulsionist and pigmented gelatine printer, in order to say a few words on topics of a less compli cated nature. The degree of pleasure derived from a summer outing depends in a great measure upon the condition of the apparatus—a hitch here and there tending to upset that equanimity of the mind so necessary for the full enjoyment of the undertaking. This re mark will, I have no doubt, be fully appreciated by the experi enced photographer as well as those gentlemen who have just purchased their first set. Thanks to dry plates, also the energy and skill displayed by the apparatus manufacturers, we are now no longer governed by those weighty considerations such as were familiar to most of us a few years ago ; then the photographer might well have been seen wending his way along the country road in pursuit of the picturesque, aided in his excursions by no less an accessory than a pair of horses and a four-wheeled con veyance : now, the kit has been so far subjected to the “ lighten ing ” process, that material for a dozen whole-plate negatives may be carried in one’s valise, or, better still, on a tricycle. Regarding the improvements which have been wrought in cameras, dark-slides, and changing-boxes, it may be said that a high state of perfection has been reached ; yet it is questionable whether the majority of slides are so well made as to permit of their being exposed to strong sunlight with impunity. The first and most important condition aimed at in the construction of a dark slide, as its name implies, is, that it shall absolutely exclude light other than those rays which are permitted to reach the plate through the lens. The remark also applies to cameras, and in both cases is more difficult of realisation than might at first be imagined. If an attempt be made to render a well-lighted room perfectly dark, some notion of the penetrating power of light may be gained, as well as the necessity for deep and well-formed grooves to act as light-traps. Appratus failing in this particular is liable to admit a more or less appreciable amount of light to the sensitive film, resulting, as we know to our cost, in fog, reversal, and general flatness, which no mode of development has any power to rectify. Bearing in mind the difficulty alluded to, it becomes a question whether any dark-slide can be considered safe enough to allow of its being exposed to strong sunlight for a prolonged period. I think not, and therefore advise every beginner to shield his slides as much as possible. Pockets made of American leather or waterproof-cloth are handy for this pur- * Abstract of u communioation to the South London Photographic Society.
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