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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. 1291, June 1, 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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350 THE PHOTOGRAPHIC NEWS. [June 1, 1883. happened as being extremely relevant to the subject, that I have the honour to read this paper before you when your walls are covered with the admirable exhibition of works of art, trans cripts in colour that we have the privilege of seeing around us, and that we shall doubtless have the pleasure of inspecting at the close of our labours this evening. First, let me direct your attention to the screen of coloured bands imposed upon black velvet, and arranged upon a convex surface ; this arrangement has been photographed with a side light in such a manner as to give you the relative value of each colour in light and in shadow. The upper group of nine colours —violet, indigo, blue, green, yellow, orange, red, ruby, and crimson—follow in the same order that they appear in the solar spectrum : they are not intended as reproductions of the colours of the spectrum, but simply as the ordinary colours produced in a commercial way for actual use in the costumes and decora tions worn in every-day life. My arrangement, then, for the present paper is to show you bands of commercial colours so dis posed as to follow each other in a certain sequence, and capable of being photographed in light and shade with bands of black and white as standards of comparison. The charts present this arrangement photographed in five different ways, three being from wet-plate negatives, the remaining two from dry-plate negatives. One of the points I wished for information upon was the relative sensibility of iodide and bromide of silver with respect to colour. 1 he photograph A was made with eight grains of ammonium iodide to each ounce of collodion. B had four grains each of ammenium-iodide and bromide to each ounce. D had six grains of ammonium-iodide and two grains of ammonium-bromide to each ounce. The photograph C was made with a gelatine dry plate containing bromide of silver, with a trace of iodide, and stained to a very decided tint with eosin. The photograph E was made with a gelatine dry plate exactly the same as C, but without the addition of eosin. Let us first of all consider the relative sensibility of the collo dion plates compared with the gelatine plates. The collodion negatives had all the same time of exposure, namely, twelve minutes, with a rapid rectilinear 11-inch equivalent focus, §-inch stop, in a room lighted by a large window, and developed with protosulphate of iron in the usual way ; the two dry plates had forty-five seconds’ exposure under the same conditions. Considering that it has been generally understood that bromide of silver is more sensitive than iodide of silver to colour radia tions, especially the greens, I was not prepared to find that the collodion containing no bromide gave a very good and harmonious presentment of all the colours (photograph A), and that the photograph containing but two of bromide to six of iodide (photo graph D), gave in all respects a much better screen than photo graph B, containing equal parts of bromide and iodide. I had better here explain that the collodion in all cases was made sensitive, and used the same day. I was quite aware that a collodion highly charged with bromide required theoretically a stronger nitrate bath, but I endeavoured to compensate for this by keeping the plates with more bromide in them a longer time in the nitrate of silver. It is possible that a stronger bath may so change the molecular arrangement of the bromide of silver as to make it more harmonious in its representation of colour; but this has to be worked out. Let us now go through the representations of the colours themselves as given in the photographs. I am afraid we cannot avoid a certain sense of defeat when we see what an amazing difference there is in the effect of these colours upon the best of our sensitive surfaces, in comparison with the effect of the same colours upon the retina of the human eye. Viewing, as we do, these colours by artificial light, we do not get their full value, but enough remains for us to make it only too obvious how very far we are from a true representation of coloured surfaces by photographic means. Let me direct your attention to the first two colours—the violet and indigo. There is not much difference in their photo graphic values : in A they are about equal; in B the indigo is slightly the lighter of the two, and the same in C, D, and E. Next comes the blue—No. 3 on the scale: it is much lighter than the other two, but note how abruptly it falls off in shadow in A and B; it is better in D, and very good in C, and perfect in gradation in E. Now we come to the green—No. 4 : this is least satisfactory in D, very even, but very dark, in B, very good in A, and admirably rendered in E. Yellow, No. 5, is the next in order : it is presented by all the photographs as if it were the lowest tone of colour in the series ; but see on the actual colour ¬ screen how brilliant it is, eclipses in force all the other colours, whilst its effect on our sensitive surfaces is less than auy other. The behaviour of the next colour—the orange, No. 6— surprised me very much. I am aware that it is not a true orange ; but it is the colour called orange, and the best I could get ; to the eye this appears of a much lower tone than the yellow— lower in tone even than the red; but its actual value to the sensitive plate is much greater than the yellow—nearly equal to the indigo. The red, No. 7, and the ruby, No. 8, are about equal in value all through the five charts, the crimson being a little the more energetic of the two ; whilst the ruby, No. 8, is slightly more powerful than No. 7. The next is a band of white introduced as a standard of comparison. The lower group consists of seven colours, put together in no particular order, but selected because they were different to those in the upper section, being less positive in their colouring, whilst they are all such as enter into articles of every-day use. First we have No. 10, light blue ; this comes out with a very energetic action, surpassing the darker shade, No. 3, as one would naturally expect: the grey, No. 13, next to it, is about equal to the orange No. 6, although the colouring power, so far as the eye is concerned, is far smaller ; but the pink, No. 12, is the most energetic of the whole range, surpassing even the light blue, No. 10. The remaining four—light brown, medium brown, dark brown, and dark green, Nos. 13, 14, 15, and 16— are quite startling examples: they all come out pretty much alike ; but note the differences in the actual colours themselves —differences much more apparent by day than by artificial light: here we have a light brown, No. 13, coming out just about the some tint as the dark green, No. 16, and presenting scarcely any difference to the representations of its neighbours, the medium and dark browns. We have now gone through our photographed representations of the sixteen coloured bands; we have seen that those colours which appear very bright to our eyes have very little effect upon our sensitive surfaces ; and were pictures painted in colours such as these, did we find in natural objects colours such as these, then indeed our task of reproducing satisfactorily objects in colour would appear to be almost hopeless. Fortunately the wonderful old Dame Nature goes to work differently ; she softens and harmonizes her tints in wonderful gradation; has effects of atmosphere, of distance, tricks of light and shade, which delight the eye that has the power of noting them, and this it is that induces a certain harmony and consistency in our photographic transcripts. This wonderful teaching of Nature is not without its effect upon her special pupils, the artists, who essay to reproduce and poetise her varying aspects ; consequently the pictures that we essay to copy have a certain degree of modu lation in colour that makes them not impossible. There have lately been produced some very fine reproductions of the splendid collection of pictures in the Hermitage of St. Petersburg ; it has been stated that their merit is due to some secret process, involving an alteration or addition or some modi fication of the collodion process ; but I am quite unable to believe that any modification of the collodion process will give the delicacy and softness of a dry plate, to say nothing of the enormous gain in sensibility in the employment of the latter ; these splendid results from the Hermitage pictures are due, in my opinion, either to an uncommon adaptability of certain of these pictures to the photographic process, or to a very carefully considered method of making the negatives and working them up by the hands of a skilled artist. That this is practicable with a dry plate is very evident to all who have employed the gelatine process to any extent. Let a negative be taken, fully-exposed— over-exposed, if you will—exposed for the deepest shadows; let the plate be developed in such a way that it comes out thin and comparatively weak all over, so that, when printed, it is a nega tive in half-tone. Now it is easy to see how a skilled hand can work upon this, putting in lights, strengthening shadows, raising the tone of colours that have not made their adequate repre sentation ; and undoubtedly all this can be done, and will be done, and it is perfectly easy and possible, so long as you get the right sort of foundation to work upon. Permit me a few words more to call your attention to a diffi cult colour-subject that I have been experimenting upon : it is, as you see, an interior—a village school. The patron has come down, and is putting a few questions to a nonplussed youth, whose robust build proclaims that his physical qualities pre dominate over his intellectual ones. He hangs down his head, totally oblivious that the schoolmaster is telegraphing the answen to the question by holding up two fingers and a thumb behind
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