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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. 1414, October 9, 1885
- Digitalisat
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- Parlamentsperiode
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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 29.1885
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Y e V e g * e e 1, Y h t y e r i, s n October 9, 1885 J THE PHOTOGRAPHIC NEWS. boat, which carries the eye from the waves upward to the moit intense light—that in the sky. The part contrast plays in at once intensifying the brilliancy of light, and increasing depth of shade, will be further seen in fig 2, which is from an etching by the Rev. E. P. Owen, and will serve also to show how a weird, wild, romantically picturesque effect may be obtained by com bination of sky and cloud. Take away the sky belonging to this picture, as I have done in fig 3, and see how different is the result. The powerful sentiment and feel ing of the picture at once vanish. The remaining sketch, fig. 4, is from another etching Fig- 4. by the same artist, again illustrative, but in a different way, of thus focussing the effect by contrast. Here, the dark tower and battlements of the ancient bridge at Shrewsbury, called the Welsh Bridge, comes into direct contrast with the strongest light in the lightest part of the picture—the sky —and thereby adds greatly to the aerial and luminous effect of the entire picture. Here, again, it will be seen how the composition, natural truths, aud pic turesque effects are all served by sky and cloud. I shall resume this subject in my next paper. (To be contvmed). PANORAMIC VIEWS. A PANORANEA, in popular phraseology, is a picture of a decidedly oblong form, embracing a very wide angular extent of subject. The perspective in a panorama differs from that known as plane perspective. Every portion of the view that is to be depicted in panoramic perspective by a lens must pass axially through the lens. In ordinary photographic operations in which the per spective is plane, only the centre of the view fulfils this condi tion, all the rest being depicted obliquely. Hence, in order to photograph with panoramic c rrectness, the camera should be mounted on a pivot aud the lens directed in succession to every part—on a horizontal plane- of the view that is to be taken, provision being made to shut out from the sight of the lens all of the sensitive plate, except a narrow strip exposed behind a slit, the plate being made to pass with a steady motion behind it, while the camera is being rotated on the stand. This is one of two forms of panoramic camera, the other being one in which the lens is an absolutely spherical globe formed of a glass shell, the interior being filled with water. With such a lens it is evident that every ray that is transmitted will be axial, as all are transmitted under like conditions. But in such a case the plate on which the negative is to be produced would have to be bent in a cylindrical form, the radius of its curvature being equal to the focus of the lens. Both of these cameras at one period were manufactured, but owing to the difficulty and consequent expense incurred in their production they have long ago since ceased to be made. Owing to the perfection with which wide angle lenses are now constructed, the necessity, or more correctly the extreme desir ableness, which at one time existed for having panoramic lenses have passed away, because of the facility with which a wide extent of subject may be included on a plate by taxing the lens to its utmost capabilities. But still there are innumerable subjects in which the lateral range is so great as quite to transcend the powers of any lens. Among such subjects may be mentioned a long range of moun tains, lake scenery, and the like. Anything that has exten sion in any considerable degree will set at defiance the powers of an ordinary photographic lens and camera to get it produced. But by taking several photographs in succession, rotating the camera on its stand a certain distance between each, a series of consecutive views will be obtained, which, if placed end to end, will afford a fairly good panoramic representation of any scene, however extended it might be. 'But even the succession of negatives were printed on one sheet of paper, and every care taken to superimpose them at the junction common to any two, and were such skill adopted in the printing as to have them identical in tone and vigour, yet would not the resulting photo graph be a true panorama, in the perspective sense of the term, but one possessing a combination of plane and panoramic per spective. However, if care be taken in the selection of the sub ject, such conglomeration will scarcely be noticed even if looked for. But when a building, or series of buildings, forms the sub ject, then is the result most painful to an educated eye. As to the best way by which to join the ends of a succession of view’s, we would here strongly reiterate what we have formerly said when writing on this—abstain from making any attempt to join them. Such attempt is certain to produce dissatisfaction. Much better is it to mount them a small distance apart. Such a trifling separation as the twentieth of an inch will quite well effect the purpose of not disturbing the continuity of the exami nation of the outlines and details of the scenery on both sides of the separation, while it effectually prevents little points of non agreement in the drawing and the transition of the perspective being noticed. Slight differences in tone, too, remain unob served. Such immunity would not be obtained if the prints were trimmed and mounted, or printed on a sheet so as to make a continuous whole of the series. The reintroduction of the roller slide upon which to wind a long band of flexible sensitive material for negatives suggests its value as a means by which to produce panoramic views. It will, without doubt, greatly facilitate the production of panoramas in combination perspective, which may either be com posed of elementary pictures slightly separated from each other, as just described, or joined together without the chance of any one discovering the junction. We have already described the modus opcrandi, but prefer doing so again more fully. Having discovered the optical centre of the lens that is to be employed (and as it is imperative that the lens possess freedom from curvilinear distortion, this centre will be about midway between the two lenses forming the combi nation), let the pivot upon which the camera is to be rotated be precisely under this centre. A strip of sheet brass screwed to the bottom of the camera and projecting forward, and having a hole in its outer end, will form a suitable appliance for effecting the rotation. The top of the stand must carry a little table on which the camera is placed, and the pivot referred to must be fixed in this table. In determining to what extent to rotate the camera after having made the first exposure, see that a small portion of each view taken is duplicated in that which follows, and let that part which is subsequently to form the junction be precisely as far from the right-hand end of the one plate as from the left hand end of the other. When the whole of the views have been impressed, develop them without severing the paper. When quite finished and dried, let them be divided, and having carefully superposed the end of one upon its corresponding one, and got the details common to both to agree (a retouching desk, having a strong glass bed-plate, being the best means for effecting this adjustment), sever the two from top to bottom with a very sharp and thin-edged knife, and when the end pieces or clippings are removed, and the negatives placed edge to edge, the subject will be absolutely continuous even to every detail. If this has been skilfully done, the print that is taken from the two negatives, previously joined by strips of paper at the top and bottom, will not show any indication of a junction. The only way by which the true origin of this panoramic negative can be discovered is by the mixed perspective; for, as we have said, while the picture as a whole is panoramic, it is formed of a series of photographs projected in plain perspective.—Pholo graphic Times.
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