Volltext Seite (XML)
418 THE PHOTOGRAPHIC NEWS. [Joly 3, 1885. veteran Wilson, of Aberdeen, produced rapid pictures that have never been surpassed—the only mechanical appliance for making the exposure being his old Scotch cap, which he most certainly used with marvellous dexterity. The advent of gelatine plates has made the out-door photography of to-day so extremely easy that I am sure the amateur of the present can have no possible idea of the difficulties incurred and the bodily fatigue endured by the photographic worker in the past. But many an old photo grapher, when he recals his bye-gone experiences, will say with me, that in spite of much worry and botheration—of the many disappointments to put against the comparatively few successes—that the intense pleasure of obtaining a real success on the field made up for much trouble and vexation of spirit. The out-door worker of the past carried the brand of his craft, for not only were his hands Hall marked “pure silver” unadulterated, but his linen was honoured with the same distinction. Alas! in these degenerate days it is only on Hampstead Heath, or on the sands at Ramsgate or Margate, that the photographic pro fessor carries his (I was going to say blushing) honours on his person. When the beautiful sea studies of Wilson, and the then marvellous street views of Paris by England, made their appearance, the opinion was erroneously held that the successes in instantaneous photography were due to some carefully-guarded secret. On the contrary, however, secret dodges had very little to do with it, for then, as now, those fortunate possessors of important and valuable wrinkles profited so little by them that their work might generally be held up as examples of what to avoid. Suc cess in “instantaneous” photography was not due to hidden secrets, and the work of the veterans I have named was not produced by the aid of carefully-concealed methods, but to untiring patience and care iu perfecting the modus operandi then in use. I find, on reference to an article on “ Instantaneous Photography,” written by me in 1864, that I cannot do better than extract a few of the most salient portions, for, with all my after-experience, I am compelled to say that, for the wet collodion process, I know of no better method. “ The bath should contain forty grains of nitrate of silver to the ounce of water, and is prepared by dissolving the amount of silver necessary in a small quantity of water. Now add a few grains of iodide of potassium, well stir, and afterwards add the remainder of the water. In most cases filtering would complete the operation, and we should have a bath in perfect order. But as the payment of a good price may not always insure a good sample, and as, in instantaneous photography, success is due to attention to trifles, I always assume that the silver may be acid, or that some organic impurity may have sullied some un fortunate crystals, and therefore, to be sure, I add a small quantity of carbonate of soda, stir well, and let the solu tion stand for some hours in sunlight; I then filter, and try a plate. The bath will generally be found in splendid condition, giving negatives with iron development that re quire no intensification, and will rarely need the addition of any acid. This bath is, however, in such a nicely balanced state, that with some collodions it might be necessary to add two or three drops of very dilute nitric acid. A better plan, however, especially if the collodion be colourlest, will be to add two or three drops of tincture of iodine to the collodion until it assumes a deep straw colour. A bath prepared as above will not retain its sensitiveness very long; a fortnight will be about the longest period that it will act graciously, and then will follow fits of fickleness and waywardness, perplexing enough to the operator. Bromo iodized collodion is absolutely necessary. It is true that under certain circum stances, by no means under control, very rapid pictures can be obtained by the use of iodized collodion and pyrogallic developer, but when due account is taken of the un certainty, and more than all, the difficulty of producing perfectly clean pictures free from " comets ’ and other blemishes, it will not be wise to waste any time in experi ment iu this direction. 11 Tor instantaneous pictures it is best to employ a strong developing solution. The strength I recommend is:— Protosulphite of iron 30 grains Glacial acetic acid 15 minims Water 1 ounce Alcohol when necessary In out-door operations, especially in a tent or through the sleeves of a dark-box, much difficulty will be found in applying strong developing solutions to the plate, but patience and much practice will overcome it. “ The slightest pause or indecision in pouring on the developer will cause a fatal stain, and in these iustan- taneous slides, unlike other pictures, no doctoring will avail, for in a picture where very fleecy cloud is rendered, any stain is at once apparent. . . . Pephaps one reason why there are so few really good instantaneous picturesis, that very few indeed are able to develop a plate perfectly in a dark-tent, with all its accompanying evils of heat, dust, and general botherations. . . . The best remedy against dust—the photographer’s deadliest though tiniest enemy— is the liberal use of a wet sponge everywhere in the camera and slide, and particularly in the dark-box or tent. Never dream of commencing the operations of the day without employing this most necessary precaution.” This last extract may with advantage be marked by the workers of to-day. The impedimenta absolutely necessary, even for small pictures, was always a very ser ious matter in tbe days of wet collodion, and, in consequence, a long journey, especi ally when accompanied by several unavoidable changes, was never looked upon with much affection by the photo grapher of twenty years ago. Most of the street views were exposed by means of a shutter in the camera, immediately behind the lens ; but later on I employed the ingenious drop-shutter invented by Mr. W. England, and employ ed by him for his Paris views. It formed part of a movable back, attached to the camera when necessary, and the shutter dropped immedi ately in front of the sensitive plate. The advantage of this arrangement over the shutter in front of the lens will be apparent on a little reflection. By England’s method the whole of the light from the lens is operating on tbe picture during the very short space of time that the shutter is open ; whereas by the method in front of the lens, the moment tbe shutter covers a portion of the lens, the light is at once diminished over the whole of the picture, and this takes place before even the image is cut off by the action of the drop-shutter. For an instantaneous street view, of course the exposure cannot very well be too quick ; but for marine studies, and, indeed, for almost all subjects where water plays an im portant part in tbe making up of the picture, I cannot help thinking that some of the phenomenal methods go beyond the mark. I have seen some studies of water done since the introduction of gelatine, that much more resemble pictures of ploughed fields, than the subjects they were intended to depict; and I feel sure that all artists would agree with me in saying that for pictorial effect, a picture taken with an exposure of the tenth part of a second would at all times be more artistic than one taken in the 100th part of a second. It requires a lengthened experience to distinguish between those subjects beautiful iu light and shade, and those that owe their charm to colour rather than form. I have at this moment a vivid remembrance of one of my studies done from Ryde Pier. The sky was leaden in hue; a thunder storm was evidently near at hand, for the clouds were knotted and fantastic. A gun-boat was coming up the Solent, and not far off; the wind and tide were dead against her, and drove at her in great fury, trying, but in vain, to stop her career. The whole picture was grey in the extreme, but there was so much go and movement in it that it was one of the most successful of the series.