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
• 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: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Bemerkung: Seite I-II fehlen in der Vorlage. Paginierfehler: Seite 160 als Seite 144 gezählt.
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

792 THE PHOTOGRAPHIC NEWS. [December 11, 1885. a shutter first begins to move, we have the zero point. That shows a series of lines close together. You see how the shutter increases in speed as they get to the opposite end. The measurements usually taken are not from the time the shutter begins to start, but at the time the exposure begins, so that de terminations are made from the start of exposures to close of same three inches. I wish to call your attention to the simi larity of these curves. One has a little more amplitude than the other, but the curves are the same in number. The last curve is with one elastic band, and the other with two elastic bands. I will call your attention to the waves on the shutter, made with the 512 fork. You see the wave is inclined to be nearer straight, showing the great velocity with which the shutter was moving and the fork vibrating. This is a picture of the chrono graph. It is a somewhat complicated piece of mechanism. This cylinder holds a piece of blackened paper. This cylinder makes a turn in one minute exactly, and at each two seconds the pen comes in contact with the paper. It is attached to a pendulum clock, and usually breaks contact every two seconds, but the velocity of this can be so increased, that instead of marking 1 inch it will mark 3 inches. This is an exposure slide used by Prof. Mayer at the transit of Venus. What I wish to call your attention to is the size of the opening, which in the original was r886 of an inch. By the use of this shutter the exposure was 366 of a second, though the shutter was going but a little faster than the one exhibited here with three elastic bands ; but the opening is much smaller. Professor LAUDY then exhibited and commented on several exposures and pictures made about two years ago by Mr. Guber- man, and also explained a table, given below, showing the speed at which objects move per second, and made an experiment showing the duration of the electric spark. MrNUTFs per Mile. Feet per Second. 300 29333 200 31-059 245 32195 240 33-000 235 34-065 230 35'200 225 36-414 223 36-923 221 37’447 218 38-261 215 39-111 210 40'305 200 44-000 155 ... ... 45-913 140 52800 135 55'578 Jotes, of fiddles, but knowing nothing of photography, reasoned from that to this, and managed to collect together many of the great photographic inventions of the past. One of Archer’s cameras, it is said, was sent in the same case with a globe-lens apparatus of Sutton ; while a giant camera by Ottewell, on which was fitted a Ross’s portrait combina tion of nearly seven inches in diameter, was secured, and sent by express a few days after. Why is it that we islanders affect pyro development so much, while the inhabitants of the more solid land gene rally use ferrous oxalate ? An Italian told us the other day that it is because we, as islanders, are less civilized than Continentals, and, as a consequence, are less mindful of staining our fingers; but it must be remembered that Continentals, and especially Italians, have often an ex aggerated notion of the immense dignity of being of terra firma. “ It is no uncommon thing to be bored by a photographic friend who will persist in each one of a long series of photo graphs being looked at, and almost every long series is a bore to look through—that is to say, when one has not been to any of the places.” A correspondent who is not a photographer himself, but among whose friends there are many far-wandering viewists, writes as above in a note to us. We can sympathise with him. It is indeed difficult to get up much enthusiasm about photographs of entirely strange places; but how different when looking at pictures of far-off but familiar scenes! Similarly, how different are one’s feelings in reading those Cantos of Childe Harold describing places one has visited, and those describing strange places. The question whether a photographer may allow the contents of his show-case to be visible to the public on Sunday is still a vexed question in Germany, and another case in which punishment was inflicted has been quashed on appeal. It is sometimes made matter of complaint that our cari Among the phases of photographic business which may be quite right and above board, but which have a slightly discordant twang about them, may be mentioned the rapidly-extending system of special privilege prices. On the same day we received two circulars, one telling us that as a member of the Cyclists’ Touring Club we could get any number of orders for portraits at something like half the usual rates; and the other pointing out that a similar advantage attended membership of the Society of Arts. A queer story comes from Russia. His Imperial Majesty the Czar, or at anyrate someone standing high in the Palace, wished to commence the practice of photo graphy ; and hearing that the best of everything photo graphic is to be had in the British Isles, he had orders sent for the Russian agent in London to immediately send the very best that money and influence could obtain. The Imperial Agert over here, being a diligent collector caturists, in drawing their cartoons, are too apt to adhere, year after year, to fixed likenesses of the various statesmen and .politicians, &c., they represent. That this is partly due to the fact that it is thought well not to vary too much the portraits which the general public is expected to re cognise, is no doubt true ; but it is also a fact that public characters might secure a much more faithful representa tion of their physiognomies if they would only take the trouble, from time to time, to send copies of their latest photographs round to the offices of the papers which re present them pictorially. Cartoons have often to be drawn in a great hurry, and there is no time for the artist to go about London hunting up the latest carte or cabinet of the “ man of light or leading ” he may have to pourtray, and so he is obliged to take his likeness from an old photo graph, or, still more probably, from back cartoons. If, however, public men of all kinds, both those who have attained a right to a place on the cartoons and caricatures of the period, and those who hope to get a place in them