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The photographic news
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- 29.1885
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- Bandzählung
- No. 1407, August 21, 1885
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Band 29.1885
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- Register Index III
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530 colours, instead of portraits. At the Congress referred to, I proposed to use—nay, did use—similar means to those which have been adopted, time out of mind, for demonstrating, by rapidly rotating a disc before the eyes, that the prismatic colours, being successively excited on the retina, produce a mean impression, or the sensation of white. As the subject of the production of generic images has been again broached in these pages, I beg leave to suggest to experimentalists, to photo graphers, means for perfecting the process. To this end a zone of portraits should be mechanically constructed to gyrate round the camera, and to pass steadily and evenly before the lens. This would permit of a series of portraits being nicely adjusted prior to their presentation to a sensitised plate. A number of sitl ers might even be posed and presented in succession to the camera, but to accomplish this successfully the camera itself should be contrived to revolve. The subject of generic images was treated in a paper of mine read some years since, at a Con gress of the British Association for the Advancement of Science. IN AND ABOUT THE ARDENNES. BY T. G. WIIAITE. I DO not remember seeing in any photographic exhibition pictures from the Ardennes; it is evident the British photo tourist has not given this part of the continent the atten tion it deserves. No doubt the opening of the Exposition at Antwerp (if they ever get it completed), and the extra facilities offered for touring in Belgium, will do much to make this charming and picturesque country better known and much more appreciated by the host of what Andrew Pringle calls “ Globe trotters.” There ia, to the photographer in search of the pictu resque, the great charm of variety in the scenery. In the vicinity of Antwerp, the scenery is very flat. After leaving Brussels, some well-wooded country is passed, but little worth doing photographically. On approaching and leav- ng Namur, the railway runs alongside the river for a con siderable distance, in many parts we'rd-looking rocks "ising to a great height, overlooking both the rail and the iver. The river boats are very artistic-looking affairs, both in form and colour ; their gondola-like stern, and immense rudders, with a bent tree counterpoise, form most agree able lines, and are very useful as foreground objects in river scenes. The numerous bends of the river ; the rocky cliffs close by on one side, and the generally open country on the other; the clusters of trees, with here and there a village by the riverside—these give the tramping photo grapher plenty of scope for exhibiting his artistic selec tion. The inevitable steam tug is occasionally seen towing a string of heavily laden barges up the river ; but it looks so utterly out of harmony with the surroundings, I do not expect it will tempt any one to expend a plate on it. To reach Antwerp from any part of England, perhaps the most agreeable route is by the Great Eastern Railway and steamers vid Harwich ; the boats are well appointed, and the sea passage of about 90 miles. Leaving Harwich in the evening after 9, they usually land their passengers in time for breakfast in Antwerp, andalmost at the entrance of the Exhibition ; the cab fare to most parts of the city is a franc ; but the cabbies speak sufficient English to charge “ a shilling.” Photographers who desire to see Rubens’ masterpieces in the Cathedral should avail themselves of the free “ show ” on Sunday morning; the charge at other times is not much, but there is the inconvenience of waiting until the exhibitor has collected what he considers a sufficiently large audience to pay him for withdrawing the curtains that conceal the “ Descent from the Cross ” and its com panion. It is a difficult matter to obtain a satisfactory close view of the Cathedral; the narrow streets, and the small shops that are built in the recesses, necessitate a more distant view being selected. The best view to be had is from the [August 21, 1885. “ Plice," and almost opposite the Post Office, looking diagonally across the square, taking in the immediate fore ground the monument that stands in the centre of the “Place,” just to make the head and shoulders of the figure break the straight line of the roof against the sky. Of old Antwerp there will soon be very few of the picturesque buildings left; they are improving them off by hundreds along the quays. A convenient train to leave Antwerp for the Ardennes is one between 10 and 11 a.m., via Brussels. I think this is the only one going through, for which there is no neces sity to change stations at Brussels, thus avoiding the necessity of a cab across the city. A short stay in Brussels may induce the architecturally inclined photographer to go in for such buildings as the Palais de Justice (a mag nificent pile), the King’s Palace, &c. On approaching Namur the scenery entirely changes, the hitherto flat landscape giving place to wooded heights, ruined castles, and strongholds on the rocky pro minences. From Namur the journey may be continued either by rail or river ; a small steamer plys daily between Namur and “ Dinant sur Meuse.” The river journey is a very pleasant one ; there are numerous locks that require much time in passing through; these enable the photo grapher to get ahead of the boat, and there are plenty of good views to be had on the river to expose what plates he may have ready in slides; but I found it a better plan to proceed by rail to Dinant, and afterwards take the morning boat from Dinant to Namur, returning the same day ; by this means the best lighting for each view may be selected. It would not be much trouble to rig up a changing room in the little cabin, if plates are plentiful, as there are so many tempting bits on the river. On arriving at Dinant by train at 3.15, very few minutes are required to “put up” at the hotel, the town being built nearly all on one bank of the river, and close to the station. As the “ supper " time at the hotels is 7 o’clock, there is ample time to secure a series of pictures of one of the most important subjects of Dinant, viz., “ La Rocher du Bayard,” especially as the only time to get this subject properly lighted is between four and five o’clock p.m. ; in the morning’s light it is very disappointing, looking flat, and without the relief given to it by the afternoon sun. This profitably fills up the intervening time till supper (which is, in fact, a dinner). A stranger will have some difficulty in finding a really good stand-point to take this “ Rocher ” from, as apparently there is no choice, a wall running down to the river just when you feel you require to be on the other side of it. After a good deal of exploring on five successive wet days amongst the backs of houses, &c., I found the finest view to be had from a spot on the bank of the river reached only by a bit of trespassing. Afterpassing through the cleft in the rock, the road is kept until a small coal-dealer’s yard is reached; passing through this the river bank is reached, and either a little up the river, or a little down, capital views are made, either with trees for an immediate fore ground, or without. Unless this point of vantage is known, the photographer will surely throw away several plates, as there is apparently no choice but at the foot of the wall mentioned. Having five wet days here, I had plenty of time to explore every part of Dinant before photographing a single view. About half a mile further up the river is the village of Anseremme ; on passing through this village, and looking back down the river, some good cottage and river scenes are to be had. At the foot of the hill stands an auberge, styled “ Au Repos des Artistes,” generally filled in the summer with German, Bavarian, or French artists. The road up the hill behind the auberge leads to the Chateau de Wallzin, a very important subject. The distance fro 1 ” the “Hotel de la Tote d’Or ” is about four miles. On ascending the hill, four roads meet; the one directly oppo site ami leading down the other side of the hill is the right THE PHOTOGRAPHIC NEWS. SUPPLEMENT TO " THE PHOTOGRAPHIC NEWS " 2!^'AUGUST, 1885.
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