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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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- http://digital.slub-dresden.de/id1780948042-18830000
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- Bandzählung
- No. 1295, June 29, 1883
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Zeitschrift
The photographic news
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- Titelblatt Titelblatt I
- Register Index III
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406 THE PHOTOGRAPHIC NEWS. [June 29, 1883. Now for the theory, as reduced to practice. 1. The shape of the glass causes the rain to run down the centre of the glass, thereby keeping it away from the muntens, and preventing leakage from without. 2. The tin hooks keep the glass apart just sufficient to permit a current of air to circulate between them, and thus the collection of dust between the lapped ends is reduced to a trifle, and the unseemly black bands which so disfigure our sky-light are avoided. 3. Condensation of course goes on just as on other sky lights, but by this plan the vapour condensed on each light is discharged on the outside of the one below it, passing through the space between the glass. 4. The lap of one-fourth of an inch at the corner and one inch in the centre is just as effectual for carrying off the water as a lap of three inches, and does not obscure the light to any appreciable extent, and requires considerably less glass. 5. Capillary attraction, which is a great cause of leakage, is overcome by the separation 'of the glass. Instead of the rain backing up by capillary attraction and running down on the inside, it all runs down the middle of the glass out side ; inside the condensed vapour passes between glasses and runs down the outside, as already mentioned. Now you are again thoroughly instructed, free gratis, in the only really reliable method of making a sky-light proof against the annoyance of leakage from without or condensa tion within. You may make a glass roof water-tight with a pitch of one inch to a foot, but it will not remain so. You may give it the proper pitch, and on the latest patented plan cut your glass diagonal, and as a natural consequence the water will flow to and along the munten. No glazier that ever lived can make a roof safe for three months by this plan in a country subject to high winds, which spring the sash and crack the water-washed putty loose in a tithe of the time necessary to do so where the current flows down the middle of the glass, and the putty only gets the water that falls on it. y-te-bge. ON RE-SITTING. “ Re-Sitting is the burning question with us just now,” said a practical photographer the other day ; “ and it is one, unfortunately, for which hard-and-fast rules can scarcely be made.” Our friend poured out his greivances freely— of course, solely from the photographer’s point of view ; and as we ourselves have recently enjoyed the opportunity of viewing matters from the side of the public, we are possibly in a better position than many to discuss both aspects of the subject. Legitimate re-sitting is not open to question. If a faulty plate turns up, if the head-rest shows, or other radical defect appears in the picture, no photographer hesitates about giving a re-sitting, and that as speedily as possible. But, as we have recently pointed out in our “ Half-a-dozen Portraits,” the photographer is not the only person whose convenience has to be studied; there is that of the sitter as well. And if he or she happens to be a person of many engagements, a visit to the studio is not to be paid every day. The photographer—at any rate, in some studios—requires that you shall attend between the hours of ten or eleven, and two or three in the afternoon, and is is not always convenient to do this. “ Time is money,” is more than an empty phrase with most of us, and in this world of vanity, other things besides oppor tunity enter into the subject of a visit to the studio. You must choose a time when you are suitably attired, and it is only those whose business is pleasure who can freely make engagements of this sort. So that it is a matter of con siderable importance—in the case of gentleman sitters, atany rate—that they should not be troubled a second time. The photographer ou 1 t to be pretty sure he has secured a passable portrait before he permits his customer to depart, either taking the precaution to develop at once, or to secure a duplicate picture. It is true, in all but one instance, this was done, during our recent tour, and in this single instance the result, fortunately, was a good one ; but had it been otherwise, and we had been requested by that parti cular studio to come again, we should have been consider ably chagrined, seeing that although but one picture was taken on that occasion, and not developed before we left, we were nevertheless kept waiting a long time beforehand, losing many valuable minutes. Our argument, like that of most people in the city, would be that we could not afford to lose another hour over the matter for some time to come, and hence the visit would be postponed sine die. The time of the sitter, then, is likely to be quite as valuable to him as it is to the photographer, and this the latter should ever bear in mind. “I can’t be bothered to come again, remember,” is what many a crabbed old sitter has doggedly remarked, when such a contingency is hinted at. Mr. Gladstone, who has been a great friend to photo graphers in general, is nevertheless very exact as to the time he places at their disposal. “ Just as you like, just as you like,” he once said to the photographer ; “ take me as youplease ; only recollect, I can give youbut fifteen minutes, not a minute longer." And the statesman allowed himself to be posed in this way and that, as the photographer chose ; punctually, however, when the quarter-of-an-hour was up, he put on his hat, and with a curt “ Good morning!" walked straight out of the studio. And now to look at the other side of the question. « As to children’s portraits,” to quote our friend once more, “ not one picture in a hundred occasions a re-sit.” This fact supplies the key to the whole of “ the burning ques tion.” Children are not the judges of their own portraits; the matter is left to parents and elders, and thus a fair decision is arrived at. The particular studio to which we are now referring is a middle-class one, in which the charge for cartes-de-visite is ten shillings a dozen, per mitting two positions. Children, like everybody else, are posed twice over, and the proofs are submitted in like manner for approval. But a child naturally has no pre dilection for this pose or that, and the parent, if the little one is but done justice to, is usually content, whether the child stands or sits. With young ladies and young gentle men it is very different, and these, after all, constitute the principal visitors to the studio. The two-fold position, instead of being a safeguard or assurance against failure, is, on the contrary, the weak point in the photographer’s armour. “ I like this position, but I don’t like that one,” is a common verdict, and the consequence is that the photo grapher, acting up to his engagement to give two positions, has, perforce, to grant a re-sitting. Or, again, since “ re-sittings are given if the first pi tures are not deemed satisfactory,” the sitter will ingenuously remark of the proofs, “ Yes, I like them pretty well, but still, I think I will have another done.” It is, of course, always in the power of the photographer peremptorily to refuse to give a second sitting, but this is just where the question “ burns.” When shall a re-sit be given, and when shall it be refused ? Established studios have a large clientele, and acquire a known repu tation in a district—the one we are now alluding to has a most valuable family connection—and thus it is a matter of some delicacy to refuse a sitter. A reputation for good work, and a disposition to please, will surely bring together a solid business; but a good deal of tact is necessary to keep it flourishing. Hence the question, how far to go and no farther, is kept alive in the matter of re-sitting, to the great detriment of the photographer’s peace of mind. How our friend attempts to deal with “re-sitting” we may here mention, merely preluding that he does not pre tend to be able to meet it in all its vagaries. In the first
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