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The photographic news
- Bandzählung
- 27.1883
- Erscheinungsdatum
- 1883
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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. 1285, April 20, 1883
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The photographic news
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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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244 THE PHOTOGRAPHIC NEWS. [APRIL 20, 1883. acai solution of silver (made with caustic ammonia), which Dr. Eder has already described, the special advantage of the carbonated solution being the fact that chemical fog is far less liable to set in, and this advantage is secured at the expense of a very trifling loss of sensi tiveness. Wilde’s solution of iodine, which is prepared by dis solving 1 part of iodine in 200 parts of alcohol, and then adding the same bulk of water, is a very convenient restrainer, 10 to 20 drops being added to 100 cub. cents, of oxalate developer. Ferric chloride may also be used as a restrainer, 2 to 20 drops of a 10 per cent, solution being added to 100 cub. cents, of oxalate developer. ABOUT DRAPERY. We have spoken about models, and shown how absolutely necessary it is for the photographer to have good models, if he wishes to produce good pictures—meaning by good models, not simply comely personages, but personages accustomed to sit and pose to artists. The draping of models is a scarcely less important matter, and what we have to say on the subject bears reference just as much to the photographer’s every-day work of portraiture, as to his production of studies and ideal pictures. There are three points especially to be considered in relation to drapery; namely, first, its texture, and secondly its colour or cut—its photographic colour ; finally, in the case of picture making, there is also shape to be considered, and this point, simple as it may at first appear, most embarrasses the student when he wants to begin work. If photographers only knew the difficulties that beset painters in their endeavours to find suitable costumes for models, the former would at once appreciate the value of shape and fashion in costume. There are very few districts in old England where picturesque costume is now to be found among the peasantry, where the ploughboy’s smock and milkmaid’s flapping sun-bonnet, where the cotton night-cap and quaint knee-breeches of the gaffer, are still worn in their primitive simplicity. Forgotten nooks there are, and outlying hamlets—a patch of lichen-grown and deeply-thatched homesteads and cotters’ dwellings, lying in some sequestered valley, beside which neither rail nor high road travels, may now and then be discovered—where models ready dressed for a picture are seen. But for the most part, our sweet scenes of woodland and pasturage, shady lane and rustic stile, are bereft of any such welcome accessories. The advances of railways and schoolboards have driven before them national costumes, and now, if these are seen, they are generally spoilt by supplemental clothing with an unmistakable air of town-made and vulgar frippery about them. In Norway (in the Hallingdal Valley, to wit, and some parts of Tellemark) there is still a pure national costume ; and in some of the remoter districts ot Germany a quaint, picturesque dress is also met with among the peasantry. Unfortunately, there is a tendency to combine town finery with these primitive robes, and the consequence is seen in Switzerland, where modern jewellery and ornaments are worn with clothing picturesque enough in its way, but bereft of its sweetness and modesty by starched laces and stiff buckram. As a rule, the artist buys worn garments for his models, and does not purchase new clothing if he can help it. Photographers who have won for themselves a name in art-photography have done the same. “ I bought that gown off a woman’s back in Seven Dials ! ” said Mr. Hubbard, in respect to the model in one of his charm ing compositions; while the late Mr. Rejlander has been known to follow the wearer of a desirable garment by rail and ’bus from the south of London to the north in order to get an opportunity for a bargain : and it is but a little while since that Mr. Robinson said of one of his most cherished draperies: “ That was bought, mind you, not made ! ” and gave a graphic account of the difficulties he encountered in obtaining it. An artist, in a word, never lets the chance escape him of purchasing eligible drapery ; in fact, new garments are of little use to him. They are too harsh and stiff, and give unpleasant lines. And if painters cannot do without proper drapery, how much more indispensable is it to the photographer 1 But in the matter of lighting and draping, the work of the photographer is better comparable to sculpture than painting, and as we have previously remarked, there is much in common between sculpture and photography. There is no colour either in the work of the one or the other, and to make up for this, they have to pay particular attention to lighting and draping. The study of light and shade without colour may be said to be the main object of both sculptor and photographer, and the latter has much to learn about the behaviour of different shades in the camera. His eye must ignore colour in judging of effects, or rather estimate it at its photo graphic value. This leads to the consideration of texture and tint. Some years ago, white was execrated by photo graphers, and blue was also deprecated because “ it came out white.” Now, white satin, white furs, and white laces, are to be found in photographs innumerable, and some artists—Fritz Luckardt, Schaarwiichter, Liiwy, &c.—seem positively to revel in these difficult draperies. But such stuffs still require the master hand to control them, and can scarcely be cited as material specially suitable for photographic work. A French authority has cited laine claire as one of the most charming photographic draperies. In texture and tint, a soft woollen fabric is indeed peculiarly adapted to photographic work. Take a soft cachemire, for instance, with its graceful folds, or a delicate alpaca, if the latter is not harsh and inflexible. Another choice material is fine Indian muslin, which in its unstiffened condition hangs in gauzy diaphanous folds that are eminently pleas ing. Old laces too, limp, and slightly tinted with age, are exceptionally pleasing as photographic drapery. As most photographers know, a weak solution of coffee presents a most ready and effective means of subduing a glaring white, and we have seen Mr. Robert Faulkner produce the most charming little garments for his baby models from a yard or two of muslin dipped in a very weak infusion of coffee. If a fabric is stiff from starch or ironing, exposure to damp or to a little steam will speedily reduce its harsh character, and cause it to drop in the most graceful of folds. Knitted shawls or scarves of white wool are also among the most delightful of draperies for portraiture, since both tint and texture are agreeably rendered by photography. Texture is in truth a quality that photographers should study more than they do. Certainly the weakest point in rustic studies with female models is the feet. A study of sculpture would teach the photographer much in this respect. A naked foot is possibly the most agreeable, but then comely models, or, indeed, models in general, have rarely pretty feet. The wearing of boots and shoes has a most disastrous effect upon the shape of the foot au naturel, and unless this is partly covered—say with moss and leaves, or by a running brook—the result is usually ugly, more especially as the photographic lens is rather hard upon a mass of white so far from the centre of the picture. Shoes and boots are always the most unromantic portion of a rustic costume— however much a smart bottine may help the stylish town belle—and for this reason we wonder the photographer, in dressing his dairy-maid or country lass, never makes use of sabots. Wooden shoes are not unknown in our own country, and in France they are very general; they may be seen, too, of a decidedly shapely character, if the purchaser will only take the trouble to pick out a quaint
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