Suche löschen...
The photographic news
- Bandzählung
- 29.1885
- Erscheinungsdatum
- 1885
- Sprache
- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- SLUB Dresden
- Lizenz-/Rechtehinweis
- Public Domain Mark 1.0
- URN
- urn:nbn:de:bsz:14-db-id1780948042-188500006
- PURL
- http://digital.slub-dresden.de/id1780948042-18850000
- OAI
- oai:de:slub-dresden:db:id-1780948042-18850000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
- Bemerkung
- Seite I-II fehlen in der Vorlage. Paginierfehler: Seite 160 als Seite 144 gezählt.
- Strukturtyp
- Band
- Parlamentsperiode
- -
- Wahlperiode
- -
- Bandzählung
- No. 1414, October 9, 1885
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
- -
-
Zeitschrift
The photographic news
-
Band
Band 29.1885
-
- Register Index III
- Ausgabe Ausgabe 1
- Ausgabe Ausgabe 17
- Ausgabe Ausgabe 33
- Ausgabe Ausgabe 49
- Ausgabe Ausgabe 65
- Ausgabe Ausgabe 81
- Ausgabe Ausgabe 97
- Ausgabe Ausgabe 113
- Ausgabe Ausgabe 129
- Ausgabe Ausgabe 145
- Ausgabe Ausgabe 161
- Ausgabe Ausgabe 177
- Ausgabe Ausgabe 193
- Ausgabe Ausgabe 209
- Ausgabe Ausgabe 225
- Ausgabe Ausgabe 241
- Ausgabe Ausgabe 257
- Ausgabe Ausgabe 273
- Ausgabe Ausgabe 289
- Ausgabe Ausgabe 305
- Ausgabe Ausgabe 321
- Ausgabe Ausgabe 337
- Ausgabe Ausgabe 353
- Ausgabe Ausgabe 369
- Ausgabe Ausgabe 385
- Ausgabe Ausgabe 401
- Ausgabe Ausgabe 417
- Ausgabe Ausgabe 433
- Ausgabe Ausgabe 449
- Ausgabe Ausgabe 465
- Ausgabe Ausgabe 481
- Ausgabe Ausgabe 497
- Ausgabe Ausgabe 513
- Ausgabe Ausgabe 529
- Ausgabe Ausgabe 545
- Ausgabe Ausgabe 561
- Ausgabe Ausgabe 577
- Ausgabe Ausgabe 593
- Ausgabe Ausgabe 609
- Ausgabe Ausgabe 625
- Ausgabe Ausgabe 641
- Ausgabe Ausgabe 657
- Ausgabe Ausgabe 673
- Ausgabe Ausgabe 689
- Ausgabe Ausgabe 705
- Ausgabe Ausgabe 721
- Ausgabe Ausgabe 737
- Ausgabe Ausgabe 753
- Ausgabe Ausgabe 769
- Ausgabe Ausgabe 785
- Ausgabe Ausgabe 801
- Ausgabe Ausgabe 817
-
Band
Band 29.1885
-
- Titel
- The photographic news
- Autor
- Links
- Downloads
- Einzelseite als Bild herunterladen (JPG)
-
Volltext Seite (XML)
OcTOBER 9, 1885. j THE PHOTOGRAPHIC NEWS. 651 has ever witnessed the neatness of outline, precision of form, the truth of colouring, and the sweet gradations of tint, without regretting that an imagery so exquisite and so faithful to nature could not be made to fix itself permanently on the tablet of the machine. Who has not put up his aspiration that some means might be discovered by which to give reality to shadows so exquisitely lovely ? Yet, in the estimation of all, such a wish seemed destined to take its place among other dreams of beauti ful things—among the glorious'but impracticable conceptions in which men of science and ardent temperament have sometimes indulged.” Although neither a Chaucer nor a Shakespeare can be said to have foreshadowed the wonders of the photographic art, still a very remarkable forecast seems to have been made by a French writer, Charles Francois Tiphaigne de la Roche, in a book pub lished in 1760, and which bears the grotesque title of Giphantie (which, by the way, is an anagram of Tiphaigne). This author relates how he was caught up in a hurricane and deposited in the abode of the genii, who showed him the mysteries of nature. “ You know,” said one of these genii to Tiphaigne, “ that rays of light reflected from different bodies make a picture, and paint the bodies upon all polished surfaces ; on the retina of the eye, for instance, on water, on glass. The elementary spirits have studied to fix the transient images ; they have composed a most subtle matter very viscous and proper to harden and dry, by the help of which a picture is made in the twinkle of an eye. They do over with this matter a piece of canvas, and hold it before the objects they have a mind to paint. The first effect of the canvas is that of a mirror ; there are seen upon it all the bodies far and near whose images the light can transmit. But what the glass cannot do, the canvas, by means of the viscous matter, retains the images. The mirror show’s the objects exactly, but keeps none. Our canvases show them with the same exactness, and retain them all. The impression of the images is made the first instant they are received on the canvas, which is immediately carried away into some dark place. An hour after the subtle matter dries, and you have a picture, so much the more valuable as it cannot be imitated by art nor destroyed by time.” So ran the day dream of this fantastic writer, Tiphaigne ; but nearly all, if not more, of the wonderful properties ascribed to these canvases coated by the elementary spirits have had their fulfilment in the instantaneous dry plate of these later years. Tiphaigne’s viscous matter most aptly describes, by an ticipation, the gelatine emulsion, so familiar to us all that there is little need to enumerate the wonderful suscepti bility of the modern photographic plate. Given the light, no object in nature moves so rapidly but that its image can be secured. The flying bird, the passing steamer, the rushing train, and the surging crowd, have each in their turn been de picted. The busy streets of our own and other towns are now no longer represented as unfrequented, and devoid of life, veritable cities of the dead, as they were before the advent of the gelatine plate. Formerly, street views had to be taken early in the morning, before the stream of life had commenced to flow. Sometimes, perhaps, the solitary figure of a policeman leaning against a lamp post relieved the dullness of the scene ; but his pose only served to bring out the fact that the police man’s lot is not a happy one. Photography may be said to be the offspring of the two sciences, optics and chemistry. The study of the former has resulted in the production of that marvellous instrument of pre cision, the photographic lens, while it is the province of the latter to explain the varied reactions that are involved in the produc tion of a photographic picture. It may not be out of place here, I think, to urge on the younger members of this Association the necessity of their making themselves acquainted, as far as they possibly can, with the elementary facts of chemical science, either by attending a course of lectures, or getting a good text book, and working at it to the best of their ability. A know ledge of the lens, affecting the vaiious operations which the photographer is daily called upon to perform, would, I take it, lend an additional interest to his ordinary routine work; nay, more, it might lead him on to the perfecting of a particular pro cess, or better still, the working out of a new one. Much as may have been done in tire past in the way of photographic achievement, there are still many worlds to conquer, so that no photographic investigator need sit down like the Greek king of old, and lament that there is nothing more for him to do. Consider, for a moment, tho fact that light acts not only on the silver salts, but also on certain compounds of uranium, iron, chromium, &c., and you will seo that tho Cell of research is a wide one. The old fable of the treasure hid in the field holds good in photography as in many other things, but it is only by working continuously that any treasure will be made mani fest. Another point that I would like to touch upon, which I think is worthy of consideration, more especially by those who have joined the photographic ranks these last few years, is, that the history of our art-science should be carefully studied. Were this more attended to we should not have so many old processes put forward as novel, or old forms of apparatus intro duced as something entirely original. How many of those practising photography at the present day could give, if called upon, an account of some of the old processes—say the amphi- type, the chrysotype, the energiatype, or the chromotype ?—and yet each and all of them are still not without interest. The French seem to have been studying lately their historical records, and to some purpose. In a comparatively recent period, public statues have been erected to Daguerre, Nipce, and Poitevin. When shall we see similar tributes paid to the memories of their contemporaries—to Herschel!, Fox-Talbot, and Ponton ? We have been hearing a good deal lately about film negatives, and the opportunity is afforded us to-night of seeing what can be produced on the film prepared by the Eastman Co. I do not know whether this class of negative will offer- the same advan tages to the professional that it will undoubtedly do to the amateur. H'story is again repeating itself—these films, after- all, are but improved editions of the early Talbotype. I would be afraid of the paper support ultimately asserting itself, and leading to a fading of the image ; this, of course, time can alone determine. Glass is an inert substance that cannot easily be replaced or imitated. We have also received the films which Warnerke has brought out. The special merit—or, rather, one of the special merits—of the films produced by this inventor, is that both sides of the support are coated with emulsion, and the image is produced on both sides of the transparent medium. Woodbury seems to have been engaged, before his death, in the workiog out of a transparent film, but with what success I am unable to say. I think, however, from wbat we know of this inventor’s genius and perseverance, that, had he been spared, complete success would have crowned his efforts. THE LATENT IMAGE, ETC. BY G. D. NACDOUGALD, F.I.C.* What is the difference between an exposed and unexposed photographic plate ? Is the colour the same ? Yes. Is the weight the same ? Yes. Is the solubility of the silver salts the same ? Yes. One might imagine if these three things are identical, there could not be much difference in the nature of two substances, and yet there is a very decided difference between an exposed and unexposed plate, as every beginner in photography discovers when he tries to take two pictures on one plate. We, as practical photographers, have perhaps long ceased to give even a passing thought to the latent photographic image. There have been in the year past so many engrossing discoveries and inventions, that this wonderful fact—the sensitiveness to light possessed by certain materials—seems overshadowed and partially eclipsed. I remember that at one time I considered the subject one scarcely to be comprehended. My photographic preceptor in formed me that the hidden image consisted of sub-iodide of silver. We now work much more with bromide of silver than in the days of collodion. The common explanation applied to tho present day would be that when light from a lens is flashed on a bromide of silver plate, a sub-bromide of silver is formed to a greater or less extent according to the intensity of the light. Is this a true explanation of what takes place ? We shall see that while it contains the germs of truth, it is not (to use a legal phrase) the whole truth. If light be allowed to act with great intensity and for a pro tracted period on bromide of silver under certain conditions, the silver appears in the metallic state, but this does not in the slightest degree prove anything as to the formation of a sub- bromide during short exposure and in a comparatively feeble light. In a very feeble light and with short exposure such as we have in the camera, is silver separated even in minute quantity ? I think not. If it were, ordinary investigation would detect it. • Substance of lecturette delivered before Dundee and East of Scotland Photographic Society.
- Aktuelle Seite (TXT)
- METS Datei (XML)
- IIIF Manifest (JSON)