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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. 1313, November 2, 1883
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The photographic news
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- Titelblatt Titelblatt I
- Register Index III
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699 Iowa. “ Vignetting attachment.’’ Filed April 25, 1883. (No model). Claim.—The combination with a photographic printing-frame having pins or studs projecting from its ends, a vignetting attachment, consisting of a box-like frame having an opening in the top, flanges adjoining said opening, holding-springs adjoining the ends of said flanges, vertical slots in the ends of the vignetting frame, and the springs covering the said slots, and having perforations to receive the pins in the ends of the printing-frame, as set forth.—/Specification Published AN AUTUMN RAMBLE IN SHROPSHIRE. BY H. J. PALMER, M.A.* My photographic starting-place was at Condover—a short four miles’ walk from Shrewsbury; and nothing of photographic interest tempted me to unlimber my paraphernalia until I reached the village itself. The church has but recently passed through the restorer’s hands, and is too “ spick and span ” to tempt the exposure of a plate upon it. But in the north chapel, in the in terior, there is a subject of great interest in a group of monuments, ancient and modern. The most beautiful of these is a recumbent figure of a mother and baby, by Roubiliac. The light was too bad to enable me to obtain a good picture of this subject ; but the print gives a faint idea of the grouping of the cluster of tombs. The baby nestling at the mother’s side; the lovely face of the dead Lady Cholmondeley; the alabaster figure of the Knight kneeling sword in hand behind; and to the left an elaborate monument of the Jacobian period crowded with quainty-clad kneeling figures—all this made me resolve to pay another visit to Condover with a larger camera and under more favourable auspices of light and weather. Behind the church a door opens in the wall into the gardens of Condover Hall—a superb Elizabethan mansion terraced in front like Haddon Hall, and surrounded by a garden of the old fashion, with the little trout stream, the Cound, babbling along in the front, and in the distance the fine range of Wenlock Edge, with the very respectable mountain peak of Caer Caradoc rearing itself proudly against the sky. The wind was blowing a small hurricane; but I attempted a picture of two of the facades of the hall. At the entrance of the village is Condover Grange—one of the most picturesque timbered houses I have ever seen. The greater portion of it was built in the reign of Edward III.; and when I saw the splendid old dining room, with its huge fire-place and chimney and ingle seats of antique fashion, I regretted much that I was obliged to defer the exposure of any more plates till another visit, and hurry off to Acton Burnell. Just outside the village of Condover, the river Cound supplies many a tempting scene of “wood and water, sweetly interming ling.” The gothic rustic bridge over the stream made up, with its surroundings, as perfect a picture as could be imagined; but it is now, alas! a thing of the past, and has given place to a hideous iron structure. A pleasant ramble of four miles brought me to Acton Burnell, which I was anxious to see on account of its half-ruined church and the splendid old castle in the grounds of the Park. The church and churchyard are in a disgraceful state of decay and neglect, and for that very reason form a good subject for the camera; but in a churchyard belonging to the Roman Catholics, kept in the most perfect order, I found another most tempting subject before me. In the background are the ivy-clad towers of the picturesque old castle; while the front of the picture is filled by a graveyard crucifix, most artistically and beautifully wrought. My little photograph does, I am glad to say, give a fair idea of this striking scene, although there was a drizzling rain falling when 'it was taken, and the hour was close upon four o’clock on a dull and wet autumn day. The castle behind is of the thirteenth century, and the windows are filled with rich geometrical tracery. Some historic interest attaches to the building, for Edward I. held his parliament here in 1283. I hurried off, after securing four negatives in Acton Burnell, to get over the two miles to Pitchford before the light had altogether departed. The village of Pitchford takes its name from a singular bitumen- ous spring hard by—I suppose the only spring of this kind in the North of Europe, While trudging wearily along after my six- teen miles’ walk, a kindly collector of curiosities came trundling along, with a very frisky and lively pony in his cart. He most Condensed from a paper communicated to the Liverpool Amateur Photo- graphic Association. kindly pulled up at the sight of a heavily-laden and weary parson plodding along in the wet, and gave me a lift into Shrewsbury. I found him a most pleasant companion, and full of antiquarian lore. I recounted to him the story of my day’s doings, end also told him of our photographic visits to the Shropshire Abbeys of Lillieshall, Wenlock, and Buildwas. This elicited from him the somewhat important information t hat at Moreton Corbet, not very far from the scene of the battle of Shrewsbury, I should find—in a picturesque old ruin there—as fine a subject for the camera as anything 1 had yet seen in Shropshire. AMONG THE MOUNTAINS WITH A CAMERA. BY PROFESSOR W. F. DONKIN, M.A., F.C.S.* My destination this year was the Montanvert Hotel, above Chamonix, and, after spending three days with some friends at their charming country house near Geneva, we took our places early one morning on the diligence. After an eight hours’ drive we pulled up among the crowd of hotel porters in the main street of Chamonix. We reached the large new hotel on the Montanvert by dinner-time, and joined the rest of the large party which had been made up in London during the winter months. The Montanvert is a superb piace to stay at. “ What shall we do to-morrow ? ” was, of course, the first question discussed. The weather was lovely, and the wealth of excursions to choose from the only difficulty. The Jardin was ultimately fixed on as a good and not too exacting an expedition to start with. Early next morning a party of nearly twenty (counting guides and porters) started for that desolate patch of rock in the midst of ice and snow, scantily covered with grass and a few Alpine flowers, known as the “ Jardin.” Of course the camera went too; and now began that very unpleasant process—getting into training. I can recommend as a most effectual beginning a walk to the Jardin with a twenty-pound knapsack on your back. Mine contains a Hare’s 74 by camera, four double slides, and a case containing four lenses. These are Dallmeyer’s eleven-inch rapid rectilinear and seven-inch single landscape lens, and two Ross’s portable symmetricals of eight inches and five inches focus. The two former screw into the same flange, and a single adapter, of course, does for the other two. The tripod is one of Mawdsley’s, with sliding legs, this arrangement being essential for mountain work. The legs go in a waterproof case, which is carried on top of the knapsack, and the metal traingle is secured by passing one of the straps of the knapsack through it before buckling. To attempt to describe scenery is futile, as we all know; so I must leave it to the photographs which accompany this paper to indicate, so far as they may, the kind of views one gets during expeditions among the higher Alps. No. 75 is the familiar view of the Mer de Glace, taken from my bedroom window at the Montanvert Hotel. No. 76 is one of the views on the way to the Jardin. I have not any of or from the Jardin itself, as we were much too busy opening tins of potted meat and making claret cup, when once we got there, to think about photography. No. 77 is a view similar to No. 76, but taken from another point on the way back. A few days later, having got into good training, I went with a friend on a more serious expedition. This was the ascent of the Moine—a rocky peak of about 11,200 feet, the base of which is close to the Jardin. When on a regular climbing expedition, I arrange my apparatus somewhat differently. The camera goes in a waterproof canvas case by itself, and either the guide or porter carries it, while I take the plates and lenses in another similar case, together with the tripod. These are all arranged in knap sack form, hanging low down in the small of the back. With this arrangement I generally take a changing-box with twelve plates instead of the four double slides. By this means I can carry more plates, with a better distribution of weight. We had a glorious day for the Moine, and I exposed two plates on the way up, six on the top, and one more on the way down. On the way up we were overtaken by three friends and their two guides while I was taking the two first views, and we kept together the rest of the way. We were nearly two hours on the top of the Moine, and between photographing, singing songs, and eating, the time went all too quickly. The views all round are superb, but they require judg ment in ,the use of one’s lenses to get the best effects. My camera extends to seventeen inches, and I often use the front lens of the eight-inch Ross’s symmetrical (equivalent to a sixteen- inch single lens) with good effect where a distant mountain is the
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