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The photographic news
- Bandzählung
- 27.1883
- Erscheinungsdatum
- 1883
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- Englisch
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- F 135
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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. 1278, March 2, 1883
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Zeitschrift
The photographic news
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Band
Band 27.1883
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- Titelblatt Titelblatt I
- Register Index III
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Band
Band 27.1883
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- Titel
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132 THE PHOTOGRAPHIC NEWS [MARCI 2, 1883. U bzwmb b is well diluted before use ; it is compounded of:— Hydrochloric acid Perchloride of iron Water 1 ounce } „ 20 ounces We have more to say about Mr. Cowan’s practical method of making transparencies with the aid of luminous paint, and about his compact and ingenious enlarging apparatus, his experiments connected with gelatino-chloride printing, &c., &c., for an afternoon in his laboratory is indeed a demonstration ; but we must defer our remarks to another occasion, for our article has unfortunately already run to its limit. known for developing plates neatly, safely, and expedi tiously. It is merely of tin, with wire loops, and any tin man would produce them at tenpence or a shilling each. All sorts of contrivances, from a piece of string upwards, have been suggested for the purpose, as our readers know only too well; but we repeat, no other method permits one to work with more cleanliness and efficiency. After developing and washing comes another little arrangement; it is so simple, any one might think of it. Mr. Cowan has thought of it, and constructed it. There is always a little stained gelatine adherent to the back of a plate, and this must be rubbed or scrubbed off to make the negative bright and clean. Our friend has a most ready way of doing this. A common square nail-brush is in a little receptacle on the right of the sink, and placed in the sink itself is a wooden gridiron, with an upright wall wall towards the photographer. Against this wall, or up right, the plate is laid face downwards, its lower edge securely resting in a notch, or rather a series of notches, cut across the gridiron ; in this position it can be scrubbed with out fear or difficulty, to free the back from dirt and stain. We give a sketch in section of the little arrangement, The “ By-the-Bye ” next week will be on “ Photographic Analysis”; the following “At Home" will be, “In Mr. A. L. Henderson’s Laboratory.” rendering the infinite detail of nature, the waves of the sea, the leaves and twigs of trees, and all the variety of vegetable a covers the immediate fore- “If we have no satisfactory means of intensifying gela tine plates, photographers should always bear in mind they have several good methods of reducing, and that is the next best thing," says Mr. Cowan, when we allude to the subject of intensification. “ For that reason I always take care to get plenty of density ; you can do anything with a dense plate, if you cannot satisfactorily improve a weak one.” The two solutions that Mr. Cowan has chosen for reducing are here ready to hand ; No. 1, the weaker of the two in its action, is simply a mixture of one ounce of hydrochloric acid with twenty ounces of water, together with, if the plates show a tendency to frill, an ounce or two of a saturated solu PHOTOGRAPHY AS A HELP TO PAINTING. BY M. B. BURTON. favourable hearing from them; but after the admission that photography has great powers and uses, apart from sculpture and painting, I may, perhaps, be allowed to say a few words on that branch of the art which has naturally attracted the most of my own attention—i.e., the practical > help which the photographer may give to the painter. Photography has already done much for drawing, by accustoming both artists and the public to seeing objects represented on a plain surface with absolute correctness; and if painters ever do come to be that happy class of mortals “ whose theatre demands their best,” they will owe much of their good luck to the sister art, which they are too apt to view with mingled jealousy and contempt. Painters and photographers are mutually helpful, whether they wish to be so or not; but they might be much more so if they would accept the connection and make the most of it. Some people may be surprised at my expressing the opinion that it is to the landscape painter that photo graphy may be most helpful. Some figure-painters set photographs of their models in the desired position, and, no doubt, those who do so, know how to use them ; but their use must always be very limited. The real artist employs his models merely to carry out an idea, or often a sketch already made, and has to resign himself to their not assuming much of the action and expression, or often even the exact form, he wants. The purpose they completely fulfil is letting the artist have before his eyes the infinitely varied tints and forms of the living being, and for that a photograph would not serve. No doubt a model, endowed with some histrionic talent, might enter into the subject, and pose himself for the moment required by the photo grapher, as he could not do for the hours the painter needs, and pictures are sometimes so made; but then they are made by the model and the photographer, and the painter had better let them alone. Photographs can never take the place of models, and a young artist, especially, should beware of working from them, lest his work should be a mere copy of a photo graph. As accessories in the studio they are very useful. To have a photograph of a figure in as nearly as possible the possition he requires, may often help the artist in his perspective, and its simple black-and-white rendering may serve as a key to the conflicting shadows and colours which distract him in the living model. In the case of small black-and-white pictures for engraving, &c., the draughtsman and photographer may work hand-in-hand, sometimes one and sometimes the other being artist-in- chief ; but to write about the painter as the servant of the photographer would be a digression from my subject. Landscape painting in its present phase is hardly an older art than photography. The landscape painters of the present day show no desire to emulate their old Dutch predecessors, and have, on the other hand, a hope in the future and a desire for progress that makes them more likely than any other class of artists to join hands with the photographers. There is no remark more common amongst photo graphers and their enemies than that photography can never succeed in landscape painting, because landscape painting depends almost entirely upon colour. Much may be said both for and against this assumption, but I think a visit to that quiet corner of the National Gallery where Turner’s water colours are kept will convince any one that, in the hands of a great artist, landscapes may lose little by want of colour. Photographing mountains cannot as yet be considered a success, but in every other branch of land scape art, photography attains a completeness which goes far to make up for its limited scope. In comparison, of course, the photographer is heavily hampered as compared with the landscape painter ; but in tion of chrome alum. No. 2, as it here stands, is about four times as strong as it should be, and must therefore be which is simplicity itself; a, is a section of the sink, b io a section of the gridiron ; and c is a glass plate resting in the notch. I am well aware that the artist who would address photo- t „ , graphers on the assumption that photography is merely a and mineral wealth which — hand-maid of the older arts would have small chance of a ' ground of a picture, he has immense advantages. Mer
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