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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
- Digitalisat
- 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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- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Parlamentsperiode
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- Bandzählung
- No. 1293, June 15, 1883
- Digitalisat
- SLUB Dresden
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Zeitschrift
The photographic news
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- Titelblatt Titelblatt I
- Register Index III
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- The photographic news
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372 THE PHOTOGRAPHIC NEWS [June 15, 1883. into much water, allow to stand to deposit, filter, wash the precipitate with cold water, then with a little cold alcohol (to remove undecomposed nitro-benzol). Crystallize from hot alcohol. The crystals which separate from the alcohol consist mainly of meta-dinitro-benzene, and yield metaphenylene diamine on reduction with nascent hydrogen. To effect this, add iron filings and hydrochloric acid, and put in warm place for an hour or two. Filter, nearly neutralize the solution with potassium hydrate, leaving a slight amount of free acid. This will precipitate the greater part of the iron. Heat and filter. Acidify the filtrate with sulphuric acid, and add a concentrated solution of potassium nitrite, which throws down a heavy precipitate. Filter, and dis solve the precipitate in alcohol. Filter if necessary. The evaporation of the alcohol leaves the colouring matter in the solid state in the form of green crystals. The solution may be used to dye fabric, or to colour shellac varnish for painting on glass. HALF-A-DOZEN PORTRAITS No. VI.—In an Electric Studio. Wb approach the description of this studio with consider able pleasure, for, with the best will in the world to be critical, we have only words of praise to bestow. We have simply left it to the last, because our visit happened to be paid on the last day of our round of inspection, and farther than to say that its whereabouts is not distant from the Great Western Station, we shall not particularise. As in the case of the other five studios, we were able to keep our person ality a close secret, and although in this instance we were favoured by a chat with the principal, whose features were known to us, the first intimation of our visit he will learn through these columns. “ Please walk in,” says a glass door. We follow the silent injunction. A young lady who is busy colouring in a corner of the reception room bids us welcome. A cough—somehow we generally get troubled with an uneasy little cough at our entrance—and then we put forward the stereotyped phrase: “ I want a small portrait taken.” “Certainly; what size do you wish? These ate cartes, you see, and these are cabinets. The cabinets are very nice.” The young lady is quite right,—the cabinets are very nice. While we are considering, she tells us something about prices; they are from half-a-guinea upwards. « These are electric light photographs—these; and we consider the shadows are not so heavy ; I think you will be best pleased with them.” They are very soft and pleasing. “ What is the price 'I ’’ we ask. “ The plain cards fifteen shillings a dozen, and the larger heads a guinea. The cabinets are two guineas and a half.” “ Ah 1 that is rather too much ; we will say a guinea’s worth, if you please.” “ You are quite sure?” says the young lady persuasively. But for the serious business in hand, we might have strayed along “ the primrose path,” and become lavish ; but our decision is final, and our companion has the good sense to see it. “ You will find the electric light less trying to sit under,” she adds, as she makes out our account. “ Really ? ” “Yes; at least, so I have been told. I have not sat myself. What name, if you please ? ” “Blancke.” “ Yes, sir. By the way, we took a Major Blancke’s po - trait the other day ; I do not know if you know him.” “ Major Blancke? ” we say, considering. “Yes: a major just returned from India, or just going out there.” « Majors do do that sort of thing a good deal,” we say, as an attempt to be funny. The portraits here are in leather specimen cases—one of the best ways of displaying them—but on the table is also a little sloping stack of pictures, each fitted into a wooden frame, and all hinged together, so to speak, in one case, so that they can be turned over like the leaves of a book. In this way the pictures keep perfectly clean, and the wood or wood-like frames to them are always presentable. It is a pleasant room in which we are, and we take a chair at the table and proceed to look over Punch very intently. Our principal reason for doing so is because a gentleman has entered, whom we strongly suspect to be the head of the firm. It may be well, we think, not to treat him to too full a view to begin with. Meanwhile the young lady is very kind; seeing the interest we take in comic literature she provides us with a further store of it. “ You said a dozen pictures at a guinea, I believe ? ” “ Yes,” we reply, still vastly interested in one of Teniel's cartoons. « Then you will find that right, I think ; one guinea.” And she puts a little yellow piece of paper in front of us. “ Ah ! do you wish me to pay now ? ” “ If you please.” We are considerably relieved, when we are presently in vited into the studio, to find it is not the principal, but an assistant, who summons us. He precedes us into a well-fitted dressing room, and asking us to follow, when we have arranged our toilet, he descends half-a-dozen steps into the studio. Everything is here as it should be ; it is the first time that we have been actually “ asked ” to enter a dressing-room, and if photographers only knew how much such an attention is valued, they would be very careful about paying it. Making our toilet, or rather practising an “ expression,” before the glass is not so easy just now. We want to get hold of a face that won’t be recognised. An air, tres froid, as the French call it, is usually safest under the circumstances, and this we adopt as we gravely go downstairs. “ Will you be good enough to come up to the window? ” is the first somewhat abrupt question of the assistant. “ I want to look at your face.” He draws the curtain back to let in full daylight, and then gazes steadily at us. A less hardened criminal might have been inclined to delate himself and confess all, but we stand the searching test without flinching. “ I think the right side of your face is the best,” he says at last. The fact is that as we are to be taken by the electric light, it is desirable to elect the best side of the face, before shutting out daylight and posing. We sit down and begin to get comfortable again. Horror I here comes the principal himself. Nor is this the worst of it; he, too, begins a systematic search of our face. “ Why ! aren’t you the ?” we think he is going to say ; but fortunately he doesn’t. Instead, he questions whether the best side of our face has been chosen. It is a relief to find the only result of his coming is to change the view of the face. This is done in a very simple manner. The electric light on a huge stand—like a mighty camera stand—stands mid- way in the studio, so that its large umbrella reflector can be inclined either half-right or half-left. Therefore, the sitter, in order to change the aspect of his portrait, has merely to walk over to the other side-wall of the studio ; in the one case he has the electric light on his left, in the other on his right. The direct rays, as every photographer knows, are not useo in photographic portraiture by the electric light, these being intercepted and thrown back into the white umbrella shaped miiror; and moreover, as the head is turned from the source of light, there is certainly no distress felt, after the first sudden appearance of the light has been got over. With an exposure of some six or seven seconds the firs portrait is taken, and then a change of position is decide upon,
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