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The photographic news
- Bandzählung
- 27.1883
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- 1883
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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. 1303, August 24, 1883
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The photographic news
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- Titelblatt Titelblatt I
- Register Index III
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530 THE PHOTOGRAPHIC NEWS. LAvGUsT 24, 1883. and that the two should be printed into each other. Strictly speaking, this is the only correct course to follow. It is certain that every cloud reflects a certain amount of light, that this light modifies to a slight extent the appearance of the landscape, and that absolute harmony cannot be obtained unless the sky and the landscape be taken at very nearly the same time. Although this is hypothetically the only correct pro cedure, in practice it will be found that frequently—nay, generally—better results will begot by a different pro cess, namely, by looking out for the time when the land scape looks its best apart from the sky, and exposing for it then, and by getting a set of skies of different characters, and lighted from different points, to print into our various landscapes. If the skies be well selected, and be printed into the landscapes with even very moderate skill, it will be impossible to discover any want of harmony in the re sult. A few hints on the getting of cloud negatives may be of use. Mr. II. P. Robinson always prefers to employ wet plates for his cloud negatives, but nevertheless gelatine films may well be employed if not highly sensitive. It is necessary to select a spot to expose from, which gives a low open horizon for at least a considerable distance around the photographer. It is particularly advisable to get the skies down to this horizon, or otherwise, when printed with certain landscapes, the effect is not good. The best horizon is, of course, afforded by sea, but when this is not available, flat land will do instead. The clouds which give the best effect are light fleecy ones, and masses of brightly-lighted cumuli. Frequently, in the course of a day, when there is some wind, and possibly a threaten ing of rain, there will be a never-ending variety of clouds of the most exquisite form, enough to enable the photo grapher to provide himself with a supply of negatives for a large number of landscapes. The opportunity should be taken of getting negatives with the sun at all elevations, and of taking them at all angles with the sun. Of course those looking towards the sun are only useful for excep tional cases. Unfortunately, clouds near the sun are the ones which photograph by far the best, so that there is a strong temptation to pay special attention to them, and to neglect the less brilliant effects which are to be had, work ing at right angles to and away from the sun. So strong, indeed, is the temptation, that we have seen in photo graphs taken by excellent photographers the landscape lighted by the sun evidently somewhat behind the camera, and the clouds somewhat before it. The exposure necessary varies with the nature of the clouds' and the direction from which they were lighted. It must always be brief, otherwise movement is pretty sure to make itself evident. It is by no means necessary to use a shutter, but the cap should be manipulated as quickly as possible. With gelatine plates of ordinary sensitiveness, it will be found that with an exposure as that indicated—pro bably or of a second—a stop varying from A to {, according to the light, should be used. The development is a matter requiring some attention, especially if it be desired to print the clouds loldly into the landscape. If it be intended merely to give an indica tion of clouds, a very thin negative will do. In this case also the exact direction of the lighting is not of so great importance, as it is impossible to detect in the print a slight error. If, however, it be desired to print the clouds boldly, the negative must show considerable contrast ; and to get this is not always easy, especially when clouds nearly opposite the sun are taken. A slow development, with a strong solution of pyro, and a considerably restrained deve loper, is necessary. It is a very great convenience to have cloud negatives on paper, so that printing may be done from either side. This is best done by contact printing by the old waxed paper or Talbotype process, but we have found the follow ing plan to give very fair results. A transparency is taken of the negative, either on a dry plate by contact, or on a dry or wet plate in the camera. From this transparency a print is taken on ordinary albu- menized paper, the back of the paper being, however, ex posed to the transparency. This gives a print weak by reflected light, but bold when looked at as a negative by transmitted light. This paper negative is made rather dark, is toned to a dark purple, and fixed. It is, after washing and drying, waxed by brushing melted white wax over it, and pressing it with a hot iron between sheets of blotting-paper till all wax that can be absorbed from it is pressed out. THE BRUSSELS EXHIBITION. Second Notice. We may now give a rough classification of the exhibits:— A. Pictures in fatly ink printed from a surface ofgelatine.— E. Aubry, Brussels ; Branneck, Mayence; F. Briickmann, Munich ; Goupil and Co., Paris ; W. Hoffmann, Dresden; Leroux, Algiers; J. Lbwy, Vienna; J. Maes, Antwerp; Baumann and Schroeder, Leipzig; Wm. Otto, Dusseldorf; Mlle. Relvas, Gollega; Paul Schahl, Berlin; Strumper and Co., Hamburg. B. Photo-lithography, photo-encyraving, zinc etching, tint blocks, Woodburytype, ^c.—Autotype Publishers, Munich; P. Arents, Paris; Evely and Deron, Brussels; E. Gaillard, Berlin; Goupil and Co., Paris; K. Klic, Vienna; J. Maes, Antwerp; R. Schuster, Berlin ; S. Schall, Berlin; Scclik, Vienna ; Scamoni, St. Petersburg ; Strumper and Co., Hamburgh; Dujardin, Paris; Volkmer, Vienna; Woodbury Company, London. C. The carbon process on paper or glass.—Chicharro, Santiago (portraits) ; Dandoy, Namur (views) ; Coupe, Termonde (views) ; Fabronius, Brussels (portraits) ; Greiner, Amsterdam (portraits); Hallez, Dinant (views); Harrison, Paris (instantaneous pictures); H. N. King, London (transparencies); J. A. Kay, Bolton (portraits); J. Maes, Antwerp (views); Marsh Brothers, Henley (enlargements) ; Bruno Meyer, Carlsruhe (reproductions); Eug. Pirou, Paris (enlarged portraits); Mlle. Relvas, Gollega (views and portraits); E. Sacre, Ghent (views); Woodbury Company, London (enlargements) ; H. Zeyen, Liege (portraits) ; Zehngraf, Aarhus (portraits) ; Salomon, Dessau (portraits on opal) ; J. Moffat, Edinburgh (enlarge ments) ; A. Schoenowsky, Neckerspoel (enlargements). D. Prints on albumenized paper. Direct prints—1. Por traits—}!. Axtmann, Plauen; Von Ayx, Mayence ; W. Byrne, Richmond; G. Brockesch, Leipzig ; Burata, Zara; Chmielewski, Poltava ; Dupont, Brussels; Devigne, Dinant; Fabronius, Brussels; A. Herzog, Basel; S. Hei mann, Lugos; O. Klein, Lahr; J. Kossak, Temesvar; A. Knirsch, Temesvar ; Karelinn, Nijni-Novgorod ; A. Lewis, Douglas; A. Liebert, Paris; O. Liebert, Holzminden; J. Lbwy, Vienna ; J. Moffat, Edinburgh ; O. Pfenniger, St. Gallen; Mlle. Relvas, Gollega; Salomon, Dessau; St. Senoch, Paris ; Solovief, St. Petersburgh ; A. Schoenowsky, Neckerspoel; A. Vandyke, Liverpool; Van Ronzelen, Berlin; Van Bosch, Paris; A. Werner, Dublin; Zehn graf, Aarhus; Zeyen, Liege. 2. Vietos (including land scapes and architecture)—Alexandre Drains, Brussels ; Bon- fils and Co., Beyrouth; Brightman, Bristol; Brownrigg, Guildford; W. Bedford, London; H. Colard, Brussels; Devigne, Dinant; F. W. Donkin, London ; Ermakow,Tiflis; W. England, London ; Fry and Co., Kingston ; Fischer and Co., Copenhagen ; Grienwaldt, Bremen; Grogcr, Habelschwerdt ; Godbold, St. Leonards-on-Sea ; A. Herzog, Basel; A. Hendrey, Godmanchester ; O. Klein, Lahr; Karelinn, Nijni-Novgorod; II. Krafft, Paris; Kurkdjan! Tri wan ; L. Laoureux, Liege; Dr. Von. Lorent, Meran; A. Lewis, Douglas; Leroux, Algiers; Lauwereyns, Brussels; Levy and Co., Paris; Lachmaier, Tiumen;
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