The photographic news

• Bandzählung: 12.1868
• Erscheinungsdatum: 1868
• Sprache: Englisch
• Signatur: F 135
• Vorlage: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: SLUB Dresden
• Rechtehinweis: Public Domain Mark 1.0
• URN: urn:nbn:de:bsz:14-db-id1780948042-186800009
• PURL: http://digital.slub-dresden.de/id1780948042-18680000
• OAI: oai:de:slub-dresden:db:id-1780948042-18680000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

150 THE PHOTOGRAPHIC NEWS. [March 27, 1868. Fig. 1. Fig. 2. No. 3. and 4 the difference of result will Fig. 4 Fig. 3. Pyrogallic acid Pure alcohol 8 grains 1 ounce 1 drachm 7 drachms 100 grains 1 ounce A mixture of alcohol and water may be kept also for moistening the plates before development. The first step is to remove the annatto, which is easily effected with a damp sponge or cloth ; for this purpose it will be found convenient to have a frame of wood into which the plate can be laid face downwards so as to avoid touching the film. The annatto removed, the plate is then covered with alcohol and water, and washed thoroughly. Then take a small quantity of water according to the size of the plate, and to each drachm add one drop each of Nos. 1, 2, and 3, which will, if the exposure have been rightly timed, bring out the picture very quickly. When all the detail is out, wash and apply another dose of developer containing two drops of Nos. 1, 2, 3, to each drachm. Should the second application not confer sufficient density, wash, and apply a third dose of the same strength as the last. Fix with hypo, and finish in the usual way. That bromide alone is superior to iodide and bromide mixed, for dry plates, I think nobody will now deny. Its rapidity, its power in rendering detail in foliage or badly lighted subjects, and, above all, the improved method of development to which it is adapted, deserve the attention of every dry plate worker. awkward effect of placing leading objects, such as the figure, cart, and church in figure 3, one above the other in a line, will also be apparent. A picture should also always be properly closed in. The centre of an arch should never be left without any other support than the side of the picture, as in figure 5; but if no more of the landscape can be included the picture should No. 1. Strong liquid ammonia . Water No. 2. Bromide of potassium Water coated. I allow each plate to set for about a minute. When all the plates are coated and placed in water, I commence at the first one again, and put them through the tannin, on to the draining-rack, and then dry them. If no more than a dozen plates are to be prepared, only one lot of washing water will be required, but for a larger number it will be safer to change it occasionally, lest the silver should collect to an injurious extent. When dry, the back of the glass is coated with annatto, and the plate is then ready for exposure. For developing, the only solutions required are :— the aisle this effect would be produced. The repetition of the receding pillars produces grandeur, but the exact'rcpetition of the same pillars on the opposite side would produce mo notony. The same observations will hold good in a great variety of instances. A representation of a view extend ing down an avenue of trees, down a river, or down a street, as in figures 3 and 4, should never, if it is possible to avoid it, be taken from the centre. On a comparison of figures 3 be seen at a glance. The of the river would present a view as represented in figure 2, which entirely agrees with the rules of composition as set down in former chapters. Some writers argue that, because the artist is not greater than the Divine Maker of nature, he should make no attempt to improve or select nature. Now, photographs taken from either of the stand-points indicated by these sketches would be equally true, but figure 1 is pro bably the way in which these writers would represent the castle, and figure 2 is how the same object would be pre sented by an artist. I leave my readers to select which they .would prefer. However objectionable straight lines may appear when many of them run parallel with one another, a few straight lines are exceedingly valuable in a landscape, giving variety by opposing the more graceful curves, and presenting a feel ing of stability in the picture. Sometimes a few parallel lines in the distance and sky afford a pleasing contrast to the undulating lines in the landscape. A small portion of straight line is often of extreme value in a picture contain ing many curves. The lines of a building on an eminence, or seen through trees, always add to the picturesque effect. In the interior of a cathedral or church the straight lines of the columns many times repeated give an idea of stability and solemnity to be obtained by no other way. If a picture were divided down the middle, one half should never be a facsimile of the other. For instance, if a photo graph were taken of the nave of a church from the centre of of the towers are at right angles with the parallel lines of the river, and the alder bush occupies a prominent position in the centre: an arrangement than which nothing could be worse. A position taken forty or fifty yards along the bank PICTORIAL EFFECT IN PHOTOGRAPHY; Being Lessons in Composition and CIIAnoscURa FOE PAOTOGEAPHERS. BY II. P. ROBINSON. Chapter IX. " It is sometimes admitted that tha mere imitation of nature is not suf- ficient to make a picture, and that some art in the treatment is required, but nevertheless contended that students should confine themselves to the imitation, without any reference to the pictorial effect. But it will require a strong argument to support the position that amateurs should be limited to that portion which requires incessant application, and debarred from those licenses to make their productions agreeable which are freely admitted in the works of professed artists. Moreover, it is difficult to discover why the end should not always, and from the first, be kept in view.—Howard. In making a pictorial representation of a scene from nature there arc many particulars worth bearing in mind, some of which are self-evident, but which, for the sake of order, and for the information of those who have not arrived at even the elementary stage of art, may be as well mentioned here. Parallel lines are objectionable. If the horizon is bounded by a straight line, the middle distance or foreground should be undulating. This is often easily managed by a change of position so as to get a perspective view of the foreground. A move of a few yards will often entirely alter the lines of a picture. A front elevation of an object is seldom so picturesque as the same object seen in perspective. Figure 1 is from a stereoscopic slide, slightly exaggerated for the sake of making no more or tne landscape can be nciuaea tne picture suvulu the defective composition more glaring. The parallel lines | finish at the abutment of one of the piers of the bridge.