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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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- Bandzählung
- No. 1312, October 26, 1883
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The photographic news
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- Titelblatt Titelblatt I
- Register Index III
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OCroBIE 26, 1883.] THE PHOTOGRAPHIC NEWS 679 stitch of canvas set. I was just prepared to put the dark slide in, when Williams shouted, “ Hold on, sir ! ” It was well that I did, for a sudden squall came which made our craft heel over; we shipped a lot of water, and I hastily threw a spare sail over all my gear, and let go the peak hal yards, to ease her. While making everything snug as far as it was possible, the yacht which 1 intended to take had got far away in the mist, and the rain came down a regular deluge. Fortunately, the slides were in a waterproof bag, but the camera was a little wet; but the sun, coming out shortly after, dried up everything. We then sailed towards Ryde, the wind going down as quickly as it came up. We tacked along the shore of the Isle of Wight until wo reached Osborne Bay, about 1'30 p.m., having taken five hours to get there. The sun now keptout splendidly, but the wind had freshened again until it blew half a gale. There were only two more races to start, so I determined to get something of them if possi ble. Three double slides were loaded, the mainsail was lowered to steady the boat, Williams was at the helm, and we were ready for work ; the first gun had fired, and we were waiting for the second in order for the race to begin. Boom! “Here they come, sir!” cries Williams. “Steady your helm ; luff; now round with her—right—keep her so!” My position was now perfect. I took the sight, and, with my finger on the trigger, fired. The shot was successful, and in the space of ro of a second the Chittyivce was mine. I was unable to say positively if there was more water than sky, or more sky than water, or, in fact, anything at all as the yacht passed so close that the swell made our little craft rock with so much violence that it was im possible to sight the centre accurately ; however, as I say, it turned out all right. I then made five other exposures, all of which were very satisfactory. Williams, who is not a teetotaller, suggested “splicing the main brace," which was acoordingly done, although, I may add, not for the first time. We then packed up, and set sail for home, which, thanks to a fair wind, wo soon reached. I do not use a finder, but guess the centre of my subject, also the exact distance, in which, after some considerable practice, I seldom make a mistake. There is a small cuddy in the boat with just room enough to crawl inside to change the plates, and also for stowing away the camera and slides. At the masthead we have our burgee, with the name of our firm in bold letters. We are known as the only profescional pirates at present infest ing the shores of Hampshire. We have captured a good many vessels in one way or another, and, instead of being punished for such deeds, have now been awarded a medal for our exploits, a strong encouragement for others who have the same piratical intentions. FRENCH CORRESPONDENCE. How History is Recorded at CORNEILLES-IN-PARISIS— Practical Experiments on Instantaneous Photo graphy—French Translation of PIZZIGHELLI and HUBL’s Treatise on Platinotype. How History is Recorded at Conncilks in-Parisis.—It is surprising that justice has not been accorded at Cormeilles to the inscription on the monument of Daguerre, for here are cut out in large letters these words : Inventeur de la Photographie. Such a grave error ought not to be passed over without protest. Is it necessary to explain to our enlightened readers that Daguerre was the colleague of the inventor of photography, Niephore Niepce? He has certainly contributed to popularise and improve the art, but it is neither just nor true to say that he was the in ventor. This seems to be slighting the veritable father of photography, and the question naturally arises, why sup press Nicephore Niepce from history, to attribute the in vention solely to Daguerre ? The best way of inscribing it would have been “ one of the inventors.” In short, Daguerre has been put in opposition to Nicephore Niepce, and the Photographic Society of France, the Syndical Chamber, and all those claiming position in the photo graphic world of France, have refrained from taking an active part in subscribing to what would engender a spirit of antagonism. This explains the absence at the inaugura tion of the monument of representative men in photography of France. The words engraved are a direct violation of historic truth of the invention of photography ; neverthe less, history cannot be falsified on this point, and it will not be forgotten that Nicephore Niepce was the man with whom that honour rests. The town of Chalons will soon unveil a statue of Nicephore Niepce by the celebrated sculptor Guillaume: will the same words figure on the pedestal as those at Cormeilles ? Instantaneous Photography.—My holiday having been spent in the south of France, on the sunny shores of the Mediterranean, 1 have made some practical experiments on instantaneous pictures. For the moment, this application of photography is the most interesting, and has the greatest attraction for amateurs. My experiments lead me to state that the use of the drop-shutter, without its action being accelerated by a spring, although the slide may fall evenly and freely, is ineffectual in giving clear impressions, except for objects in motion situated a good distance away from the lens, and consequently of small dimensions. The spring is indispensable if it is desired to reproduce moving objects of a fair size, and a speed is required more than twice that of the simple drop-shutter, at least. I have been obliged to place above the moving slide a propelling spring to effect an increase of the initial speed of the drop from its commencement, and, moreover, the rapidity still being insufficient, the aperture of the shutter was reduced to the length of the diameter of the lens. It is preferable, however, to leave the length of the opening twice the diameter of the objective, and to augment the propelling force of the spring at the top of the slide. Thus placed, the spring is more effectual then india-rubber strings, as they only act at the actual starting moment, and after a short time lose their elasticity; a curved spring of tempered steel is the best. Monckhoven’s plates were em ployed, marking about 14 on Warnerke’s sensitometer, of medium sensitiveness, sufficient to give intense images with exposures varying from 116 to rE of a second in full sun light between about ten a.m. and two p.m. I have taken sailing vessels clearly at 60 metres distance in foreshortened positions in a high wind. The development was con sidered assisted, as M. Lugardon suggested, by the addition of two or three drops of iodine water in 100 c.c. of deve loper. Its composition was as follows :— Saturated solution of neutral oxalate of potash 80 cub. cents. Saturated solution of sulphate of iron, slightly acid 20 „ 2} to 3 drops of iodine water. French Translation of Pizzighclli and Hilbl's Treatise on Platinotype.—The French translation of this work is pub lished by Gauthier-Villars. It has been translated by M. Henri Gauthier-Villars. It is to be hoped that this theoretical and practical treatise will contribute to render this excellent and permanent process popular in France. The objection raised against the cold tone of platinotype prints can be of no account when used for scientific repro ductions, monuments, archaeological views, natural history subjects, &c. On the other hand, the certitude of the permanence of images produced in soft grey and black cannot be but agreeable. It is true that portraits are more pleasing of a warmer tone, and on that account alone is the silver albumenized print preferable; but as portraits take up but one branch of photography, the application of platinotype will certainly be valuable for all other branches. 1 hope now to take up my fortnightly correspondence assiduously on my return to Faris. Leon Vidal.
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