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The photographic news
- Bandzählung
- 27.1883
- Erscheinungsdatum
- 1883
- Sprache
- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
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- SLUB Dresden
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- Public Domain Mark 1.0
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- urn:nbn:de:bsz:14-db-id1780948042-188300004
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- http://digital.slub-dresden.de/id1780948042-18830000
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- oai:de:slub-dresden:db:id-1780948042-18830000
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- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Parlamentsperiode
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- Bandzählung
- No. 1292, June 8, 1883
- Digitalisat
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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
- The photographic news
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fresh-water jelly fish which most unaccountably turned up in the Victoria Regia tank in the Royal Bota nical Gardens, Regent’s Park, in 1879, and which in many ways has been a puzzle to naturalists, who so far have failed to follow up its life history, although watched with very keen interest. This makes a most charming object in the microscope, as it slowly swims about by the alternate ex pansion and contraction of its transparent umbrella-like body, from the edge of which stand up a bristling array of tentacles, each one armed with innumerable stinging organs ready on the approach of its intended prey (the water flea) to be darted out and exert their benumbing power ; and it is possible for the stndent to see the mouth pushed out to engulf the prey, which is passed on to the elastic stomach to be digested. A higher power of the.microscope reveals the series of brilliant eye spots and hearing organs around the edge of the umbrella at the origin of the larger tentacles, and the large ovaries with their clusters of ova. Mr. Bolton has just added to his exhibit the nest of the little stickleback (gasterostent'). Here the male fish, who has built the nest, may be seen in diligent attendance, hovering over the mouth of the nest, fanning with its fins and tails so as to force a current of water down upon it to aerate the numerous eggs, which he has, with many manuvres, persuaded the female fish to lay in her nest. Later on, as the eggs come to maturity, he will watch over them to protect them, and as they burst out of the egg, and any of them are disposed to wander out prematurely, he may be noticed to carefully draw in a straggler into his mouth, bring it back, and gently puff it back into the nest. The curious natural history of this nest-building fish is well worthy of study. Mr. Bolton exhibits on the wall a series of portfolios of drawings, being a selection from the drawings and description of various organisms he has already sent out to the leading naturalists al! over the United Kingdom, and most of the biological classes in the universities and science schools, He also makes a fine exhibit of mounted seaweed at his stand (804) in the North Eastern Quadrant. Mr. Bolton has this week been exhibiting some young smelt in the microscope, which are fifteen days old. These fish were hatched by Sir James Ramsay Gibson Maitland, Bart., at his piscicultural establishment in Howieton. They were forty-two days in the water, being at a temperature of 45°, being the first successful attempt at their artificial cultivation in this country. He has also shown the spawn of the cuttle-fish, of the sea-lemon, and of the periwinkle. CAMERA VIGNETTES, OR CARTES RUSSES. The majority of those practising the art-science of photo graphy as a profession are, no doubt, fully conversant with the various methods of producing that most artistic form of portrait known as the “ Camera Vignette,” or Carte Russe, as our Paris friends term it ; but there may be a small minority to whom the description of a simple and effective plan of operations may prove acceptable. If it were possible to suggest any addition to the practical re marks in a recent number on “Rembrandt Effects,” the idea of vignetting the said Rembrandt portrait might, per haps, bear consideration as a modification capable of enhancing the effect. The exposure necessary for the one is sufficient for the other, if properly arranged. The background must not merely be of black cloth, but be well in shadow, or the slight over-exposure necessary to bring out the details of shadows will inevitably cause a deposit on those parts which should be transparent. Foggy emulsion is no use for this work, and any developer which tends to diminish the cleanness of the plate is to be carefully avoided, unless the alum and hydrochloric bath will set things right again. In an ordinary Rembrandt negative this is not of so much importance ; but when all the plate, except the head and bust and that part immediately round these, re ceives no light at all upon it, the effect of a halo is produced unless these precautions are taken. Pyro stains must of course be removed. Given, then, a bl k background well shaded by head screens or otherwise, and the figure suitably lighted at a distance of some three or four feet in front thereof, let it be supposed that the resulting picture is to be a one-inch head and bust, and the lens, say, a 2B, the method of procedure will be as follows:—A light box, made most easily of cardboard covered with brown paper by means of paste, and lined with thin black tissue paper (or painted inside with lamp-black mixed with a little of the paste and water), is constructed to go over the end of an ordinary camera, and project at least sixteen inches in front of the lens. It should either be arranged to slide over the camera to reduce the distance, when necessary, to ten or twelve inches, or the front of it must be moveable in the box itself to answer the same purpose. The front of box, whether fixed or movable, must be provided with an oval aperture about five inches by three inches wide, and an ordinary vignetting mask with deeply-serrated lower edge, some what smaller than the hole in the box, should becut out of a strip of dead-black paper, and arranged to fit over the hole and adjusted to right position. This is easily managed by pasting a piece of paper with a hole therein by its side edges only to the end of the box. This will leave a space for the paper vignettes to be slipped through and be adjusted aright. As most cameras are fitted with a large movable screen projecting in front and rear, it is scarcely necessary to fit loose on to camera with more than ordinary accuracy, in order to exclude light; but the inside must be dead-black. The distance of vignettes from lens is determined by size of figure required, and by the focal length of lens. That indicated is for the lens named. The shape of vignettes should be like those used in printing or enlarging. Those who prefer it can place the mask inside the camera between lens and plate, with smaller vignette upside down, and arranged to move to find from lens as required; this does away, of course, with the box outside. This plan not only increases the length of exposure considerably, but is in the way of most of the better forms of inside shutters used now with quick plates. There is also more trouble in adjusting it, the ground glass requiring frequently re moving for the purpose. In the former arrangement some shutter is evidently needed, either inside, behind lens, or in the box in front, as the cap cannot be reached. This can readily be contrived by anyone. Should halation be manifest with some plates, it is well to adopt the suggestion made in these columns of applying a piece of black velvet, wrung out of glycerine, to the back of plates. THE ALTERATION OF PAVER WHEN EXPOSER TO LIGHT. As paper forms the usual basis on which finished photo graphic pictures are produced, it becomes of primary importance to consider how far any changes of this material are likely to affect the permanence of the photo graphic image ; and a darkening of the basis on which the picture has been made is certainly as effective in obliterat ing the subject as a lowering of the depth of the photo graphic shadings themselves. Few of the cheaper varieties of commercial paper are unaffected by exposure to light, those tinted with organic colouring matters often becoming lighter; while many white samples gradually darken until a deep russet brown tint is arrived at. It may, however, be safely assumed that a white paper manufactured from pure rag-pulp will not darken to an appreciable extent; while cheaper papers, into the com-
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