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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
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Parlamentsperiode
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- Bandzählung
- No. 1308, September 28, 1883
- Digitalisat
- SLUB Dresden
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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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- Ausgabe Ausgabe 801
- Ausgabe Ausgabe 817
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Band
Band 27.1883
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- Titel
- The photographic news
- Autor
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September 28, 1883.] THE PHOTOGRAPHIC NEWS COLOURED PHOTOGRAPHS ON GLASS. use. The bottom of the screens does not touch the floor, the top having attached to it two reels which run upon a stout wire (of which there is one for every screen) running across the studio. The join between background and floor is rendered invisible by a fringe of grass or narrow skirt ing board. Mr. Abel Lewis, of the Isle of Man, as also Herr Angerer, of Vienna, sometimes employ Indian straw matting and screens of Chinese and Japanese make for backgrounds. These have not only the advantage of being pleasing and unconventional—giving the appearance of a nook or corner of a drawing room—but, as they permit of being bent at angles and formed into a recess, they, like the alcove backgrounds, supply soft and deep shadows, and thus add plasticity to the model. These grass and painted screens are, indeed, among the most pleasing of backgrounds. glass, to render them opaque, and apply roughly over the surface, no part being left uncovered ; but. to prevent a blurred effect, it is necessary not to paint beyond the out- There is likely to be some little difficulty in applying the successive coatings over surfaces upon which oil colours have been laid, owing to the tendency of the under coat ing to melt if the temperature is raised above 120“ F. Nevertheless, if a hard sample of paraffine is used in the process of clearing, requiring a temperature of 130“ F. to liquefy it, and using an inferior sample, which melts at 120* F., for the after operations, there is less danger of spoiling the work already done. It might even be found convenient to use an equal proportion of ozokerit and paraffine in the first instance, adding a proportion of paraffine previous to each successive dip. Necessarily, the time required to finish the picture will be prolonged, to allow time for the pigments to dry; but if the artistic effect is enhanced, the rest is a secondary consideration, and there appears to be less chance of fading from atmospheric causes. The Engineer says :— “ The exceedingly delicate coloured photographs on glass which have come into fashion somewhat of late, are produced by fixing a paper photograph upon a cushion-shaped glass with transparent cement, and when it is dry rubbing away two-thirds of the thick ness of the photograph with sandpaper. The thin film left is then rendered transparent by soaking in melted paraffine wax, after which transparent colours are applied, which appear softened down when looked at from the front. The background and heavier portions of the picture are then painted in body colour upon the face of another cushion-shaped piece of glass, which is afterwards fixed behind the first one. An improvement in this process has just been made by Mrs. Nelson Decker, daughter of the late Mr. C. F. Varley, F.R.S., and the first of the young members of his family to have produced a scientific novelty. She has just discovered that the second sheet of glass may be abolished, a better artistic effect produced, and the picture rendered more permanent by being protected from the action of the air and dele terious gases by being wholly embedded in paraffine. She does this by quickly dipping the photograph in paraffine a second time after the transparent colours have been applied, and painting the heavier colours upon the back of this second coat. A third layer of paraffine is then applied, and the background painted upon that; this third coat may be finally protected by yet another layer of paraffine. Some practice is necessary to acquire the ‘knack’ of doing this efficiently. It must be done quickly enough not to re-melt previous layers, and the plate must, after each dipping, be quickly tilted on end in such a manner that the paraffine does not run into ridges and thickened lines, but forms an even coating.” The usual method of producing these pictures has been fully described (pages 406, 678, 716 of our last volume) ; but as some of our readers may not remember the details, we give a brief sketch here to enable them at a glance to see the important improvement devised by Mrs. Nelson Decker. A silver print, slightly smaller than the convex glass used, is soaked in water, blotted, and a mixture of starch and gelatine, or some similar substance, applied to the albumen surface, also to the concave side of glass. The two surfaces are brought in contact, and the print well squeegeed to remove air-bells (a strip of vulcanite sheet doubled forms a convenient squeegee for this purpose). When dry—eight or ten hours will be required—rub with fine glass paper, as much of the paper from back as can be conveniently done without making holes; place the pic ture in melted paraffin, allowing it to remain until free from opaque patches ; the print should clear in less than an hour. When cool enough, remove excess from both sides, and commence painting. Eyes, lips, hair, high-lights, ornaments, and small details are painted on the print, using a liberal proportion of poppy oil or megilp. When dry, a second glass, which should fit nicely, is attached at the edges to the first one, by means of gummed paper. Mix white with all the colours to be laid on the second position. This articulated or jointed wooden screen stands some eight feet high, and it is so plastic that it will form and retain any curve by being simply bent with the hand. Thus it can be placed in a semi-circle round the model, or form a recess, and consequently shadow, to the right or left; or, if necessary, a column may be shaped at one side by bending round the plastic screen. Mr. Mayall covers his screen with grey cloth, and this grey obviously is lightened or darkened according to the angle at which the rays impinge upon it. In respect to the employment of flat backgrounds, it is curious how very few photographers agree as to the method of mounting them. Thus, in Sarony’s studio at Scarboro’, they are made to rise out of the floor by means of counterweights ; the screens are so well balanced that you may shift them with one hand, and change the scene as at a theatre with the least trouble. Mr. Bassano, in Old Bond Street, has a background in his principal studio measuring no less than eighty feet. This is mounted on two perpendicular rollers, one on each side of the apart ment, and as it rolls off one pillar, it is rolled on to the other. This is a very handy method; it is so coloured, that as you pass it in review, the tint changes from warm to cold, the scenes from outdoor to indoor. In the whole length of eighty feet there are at least a dozen different positions, in which the panoramic screen would serve as background. Again, Messrs. Hills and Saunders have a liking for backgrounds moving in grooves like the wings at a theatre; while Mr. Slingsby, of Lincoln, stretches his backgrounds on wood frames, but does not fix them in position ; he prefers to be able to adjust them as he pleases, and by inclining them slightly towards or against the light, thus modifies their character. Herr Schaarwiichter, of Berlin, as our readers may remember, hangs his back grounds one behind another, drawing them sidewards for We notice in last Friday’s Engineer an important modifi cation in the method of colouring photographs from the back; the second glass upon which the opaque pigments . , „ are laid is substituted by a series of thin layers of paraffine. | lines; back up with white paper, and frame suitably.
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