Volltext Seite (XML)
May 4, 1883. | THE PHOTOGRAPHIC NEWS. 275 premises probably a dozen Winchesters of nitric acid, also sulphuric acid in “ their more concentrated form,” and our laboratory shelves would disclose glycerine, saltpetre, nitrate of soda, chlorate of potash, and, in fact, nearly every substance enumerated in the memo. Now what are we to do? Wetremble! What, supposing all Scotland Yard were to make a raid upon us at . Oh 1 we must not say where we are. Well, how could we prove that wewerelawfully in possession of these substances ? However, not to joke about it, we fear the Act is liable to fetter legiti mate trade, and hinder experimental science. Seeing that we have occasion to use about two gallons of strongest nitric acid to set up some 48 or 50 cells of battery, it must be no wonder if our fingers bore the yellow stain that went so far to betray Whitehead. Sometimes a suspicious spot is to be found on our wearing apparel, and before now we have had a dab in each eye I Great scares act like powerful medicines, to which the system can become so accustomed as to be unaffected by them. Let us hope the worst is past, that the scare will subside, and with it the restrictions be relaxed so that the match of science may not be hindered. We decline to dis cuss polities in a technical journal ; the Government have got the axe well at vhe trunk of the poisonous tree ; let us hope they will be able to grub up every particle of its roots. THE STUDIO TURN-TABLE. We referred in our issue of February 16th last to the arrangement recently patented by Kurtz, of New York, and which may be termed a studio turn-table. It is easy to imagine cases in which considerable advantage may result from the use of such an instrument; but much will, of course, depend on the mechanical excel lence of the turning arrangement. The subjoined cut represents the turn-table. Mr. Kurtz says, in his specification :— This apparatus has reference to an improved method of, and apparatus for, producing photographic images in such a manner that the lightsand shadows are forced to move during exposure, over the face of the sitter, without the necessity of any change in the usual appliances of a photographic studio, and by which over-exposed high-lights and under-exposed shadows are entirely dispensed with, a thoroughly-exposed negative made in a very short time and without a reflector, and an artistic picture produced even by inexperienced operators with little extra labour and expense. This process has the further advantage that retouching is to a large degree dispensed with, owing to the moving of the shadows and high-lights during exposure, whereby they are made to come out soft and fleshy, and in a more natural manner. The apparatus consists of a method of producing photographic images by which the object to be photographed and the photographic apparatus are simul taneously moved during exposure, so that the lights and shadows are forced to pass over the object; and it consists, secondly, of a movable platform supporting the object to be photographed and the camera, the said platform being provided with means for being moved through a suitable distance during the time of exposure, and with a rotary platform for turning the sitter or object. By this improved method and apparatus the photographic images are produced by the same appliances as have been used heretofore either in the wet or dry process, with this difference, that the camera and sitter or other object are placed on a platform which is moved during exposure, so that the lights and shadows are forced to move over the face of the sitter, whereby a more artistic distribution of light and shade and a much better- picture are produced. The operator is by this method and apparatus enabled to expose the object first in a half-light and turn it then into a strong light, which will give him the high-lights last, so that he becomes thereby complete master of his light without the trouble and delay of adjusting curtains and blinds. Pictures can also be taken in a shorter time, with very little retouching, and furnish better portraits, which have greater softness and rotundity, and are a more faithful reproduction of nature, than the pictures with strong high lights and shadows obtained by the ordinary method hitherto in use. HALF-A-DOZEN PORTRAITS. Studio I.—“ Photographers to the Royal Family.” “How will that do, sir?” says the hair-dresser, with a twist of his brush. “Pretty well, I think.” Then, after a careful survey in the mirror, we add: “Perhaps the moustache would be better for another twist. Not much—just a little. So— yes, that is right now.” For we are off to be photographed, and must be careful of our looks. We don’t get a picture taken every day of our life, so we may be pardoned, perhaps, for a little vanity. Besides, we are bound for a fashionable quarter. We pass along Cranbourne Street, and call in at Messrs, Hunter and Sands, to purchase a single eye-glass.