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The photographic news
- Bandzählung
- 27.1883
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- 1883
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- Hochschule für Grafik und Buchkunst Leipzig
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The photographic news
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Band
Band 27.1883
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- Titelblatt Titelblatt I
- Register Index III
- Ausgabe No. 1270, January 5, 1883 1
- Ausgabe No. 1271, January 12, 1883 17
- Ausgabe No. 1272, January 19, 1883 33
- Ausgabe No. 1273, January 26, 1883 49
- Ausgabe No. 1274, February 2, 1883 65
- Ausgabe No. 1275, February 9, 1883 81
- Ausgabe No. 1276, February 16, 1883 97
- Ausgabe No. 1277, February 23, 1883 113
- Ausgabe No. 1278, March 2, 1883 129
- Ausgabe No. 1279, March 9, 1883 145
- Ausgabe No. 1280, March 16, 1883 161
- Ausgabe No. 1281, March 22, 1883 177
- Ausgabe No. 1282, March 30, 1883 193
- Ausgabe No. 1283, April 6, 1883 209
- Ausgabe No. 1284, April 13, 1883 225
- Ausgabe No. 1285, April 20, 1883 241
- Ausgabe No. 1286, April 27, 1883 257
- Ausgabe No. 1287, May 4, 1883 273
- Ausgabe No. 1288, May 11, 1883 289
- Ausgabe No. 1289, May 18, 1883 305
- Ausgabe No. 1290, May 25, 1883 321
- Ausgabe No. 1291, June 1, 1883 337
- Ausgabe No. 1292, June 8, 1883 353
- Ausgabe No. 1293, June 15, 1883 369
- Ausgabe No. 1294, June 22, 1883 385
- Ausgabe No. 1295, June 29, 1883 401
- Ausgabe No. 1296, July 6, 1883 417
- Ausgabe No. 1297, July 13, 1883 433
- Ausgabe No. 1298, July 20, 1883 449
- Ausgabe No. 1299, July 27, 1883 465
- Ausgabe No. 1300, August 3, 1883 481
- Ausgabe No. 1301, August 10, 1883 497
- Ausgabe No. 1302, August 17, 1883 513
- Ausgabe No. 1303, August 24, 1883 529
- Ausgabe No. 1304, August 31, 1883 545
- Ausgabe No. 1305, September 7, 1883 561
- Ausgabe No. 1306, September 14, 1883 577
- Ausgabe No. 1307, September 21, 1883 593
- Ausgabe No. 1308, September 28, 1883 609
- Ausgabe No. 1309, October 5, 1883 625
- Ausgabe No. 1310, October 12, 1883 641
- Ausgabe No. 1311, October 19, 1883 657
- Ausgabe No. 1312, October 26, 1883 673
- Ausgabe No. 1313, November 2, 1883 689
- Ausgabe No. 1314, November 9, 1883 705
- Ausgabe No. 1315, November 16, 1883 721
- Ausgabe No. 1316, November 23, 1883 737
- Ausgabe No. 1317, November 30, 1883 753
- Ausgabe No. 1318, December 7, 1883 769
- Ausgabe No. 1319, December 14, 1883 785
- Ausgabe No. 1320, December 21, 1883 801
- Ausgabe No. 1321, December 28, 1883 817
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130 THE PHOTOGRAPHIC NEWS. [March 2, 1883. the house,” or to receive warm expressions of admiration and approval. Valuable as has been the past history of the lantern as an instrument of pleasurable amusement and instruction, it bids fair in the future to become vastly more popular, if not, indeed, a downright necessity, and we are not merely predicting when we say that it will soon have a place in all schools, colleges, and science classes, for already we see the lantern introduced in ways little thought of a few years ago. We may just refer to our issue of Dec. 8th, 1882, in which we briefly described Professor Thompson’s arrangement for exhibiting slides horizontally in the lantern, instead of vertically, as is usual. The advantage of this method is very great, especially to a lecturer — liquids can be most conveniently shown ; not upside down, as is generally the case in the vertical arrangement. We scarcely need to urge the importance of the lantern itself, for that is admitted: our theme is lantern slides, and it is this upon which we propose to dwell. The ensuing remarks are penned with the desire to make this branch of our art attractive, to assist the beginner, to help in any little difficulties, to draw forth the experience of the able worker, and, generally, to improve the quality of lantern slides as they leave the hands of that large body of our readers, the enthusiastic amateurs. Our columns are open for the experiences of those who are able to advise, and to those who seek for information ; and we court every proper enquiry, which will be promptly and cordially answered. Lantern slides may be good, bad, and indifferent. Stated broadly, the proportions are about equal in the productions of amateurs, who, of course, can rarely give up the requisite time and attention to attain to the skill essential for turning out good work, and thus eliminating the bad or indifferent. It is somewhat difficult to describe in words what a good lantern slide ought to be—there are so many points to be considered, such as the nature of the subject, whether landscape or seascape; mountain or glen ; wooded or barren; minute in detail, or massive and gigantic ; brilliantly lit, or sombre and obscure. Groups, portraiture, statuary, interiors, copies of works of art, machinery, or examples of constructive engineering, all require special treatment. It goes without saying that the result must depend very much upon the character of the negative itself from which the slide is to be made, and it will be equally apparent that a good slide cannot be made from a bad negative; yet much may be done to “coddle” and make it give a transparency in which some of the negative’s defects are compromised and ameli orated. The processes by which lantern slides are produced are numerous. Some of the methods are for the production of positives in the camera—i.e., photographing the negative as though it were an object in actual relief; other methods are only for use by printing just as albumenized paper is used. The two distinctive methods must, of course, depend upon whether, as in the first instance, the transparency is reduced from a negative of larger dimen sions, as (say) from an 8¥ by 6} negative; and, in the second case, either a reduced negative must previously have been made, or contact printing resorted to by placing the transparency plate in actual contact with the original negative, whether it be 44 by 34, or larger. At the present time there are hundreds, if not thousands, of amateurs who have taken up photography since gelatino-bromide plates came into the market as commercial articles, and these workers probably wisely adopt the quarter-plate or 5 by 4 size. Either of the sizes may be used for direct printing by superposition on pre pared plates; in other words, the intervention of another camera operation, in order to produce a lantern trans parency, is not needed; and herein is effected a considerable saving in time and labour, for some hundreds could be produced in one day, and the process can be carried on by gaslight. On the other hand, we shall find an equally large number of photographers who work all manner of sizes, from half-plate up to 12 by 10, or larger. All such sizes must be photographed in the camera in order to obtain a lantern transparency, and we will explain why. If we take (say) a 74 by 5 negative, we may say, “I can print two or three slides from different parts of this.” Well, just try it, and we undertake to say the resulting slide will show such unsatisfactory properties of perspective that, if the view be known, those who see it will condemn it, saying, “There is something wrong about that view; it doesn’t look like what I remember of it.” We therefore deprecate the idea that it will suffice to print a transparent positive or positives from various parts of a landscape negative, say 7} by 5 ; we grant it that it would be un commonly convenient, and save an enormous amount of time ; but we can only consent to such a method as a make-shift one, or where it is admitted that it is only resorted to for a special purpose ; and we must insist that, where the negative is larger than half-plate, the trans parency must be obtained by reduction by means of the camera. An amateur possessing a negative of a given subject requires only one—or, perhaps, two—lantern slides there from. A professional, or lantern slide publisher, may require one thousand slides from one negative. The amateur would, of course, select such a process as would, with the least labour, give him his slide or two of the best quality. The professional would prefer a process which, although it might entail more preparation, would furnish results level in quality, and capable of being turned out quickly, either by employing duplicated negatives, or some of the photo-mechanical processes for printing ; thus, the conditions are unlike, and we shall have to study the sub ject from opposite points of view. Whereas an amateur may coddle and dodge a defective negative so that he may bring one satisfactory positive through, a professional could never resort to such tricks; he must have a negative capable of being reproduced, or capable of turning off positives level and equal in quality and strength, otherwise the work would cost him more than the slides would sell for, a result which does not weigh in amateur matters. We cannot now do more in this first article than indicate a few of the methods extant for the production of slides. We do not pin ourselves to chronology or merit in the order in which we state them, as opinions might vary on these matters. Methods. Photographing the negative in the camera on wet collo dion or collodion emulsion. Photographing the negative in the camera on gelatine plates of various kinds. Producing a carbon or other transparency by super position, and then taking a reduced negative therefrom in the camera by any convenient process. Printing from reduced negatives by superposition or in the camera. Printing direct from original negatives by any process. Woodbury or Stannotyping in conjunction with original or reduced negatives. Processes. Wet collodion, albumen, collodio-albumen. Collodion emulsion, wet or dry. Gelatine plates, bromide, chloro-bromide, chloro-iodo bromide, &c. Gelatino-chloride plates. Carbon processes. Photo-mechanical processes, Woodbury, Stannotype, &c In our subsequent articles we shall treat of these in extenso, as well as describing the requisite apparatus for the reduction of negatives and production of trans parencies.
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