Suche löschen...
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
- Lizenz-/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
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
- Strukturtyp
- Band
- Parlamentsperiode
- -
- Wahlperiode
- -
- Bandzählung
- No. 501, April 9, 1868
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
- -
-
Zeitschrift
The photographic news
-
Band
Band 12.1868
-
- Titelblatt Titelblatt I
- Kapitel Preface III
- Ausgabe Ausgabe 1
- Ausgabe Ausgabe 13
- Ausgabe Ausgabe 25
- Ausgabe Ausgabe 37
- Ausgabe Ausgabe 49
- Ausgabe Ausgabe 61
- Ausgabe Ausgabe 73
- Ausgabe Ausgabe 85
- Ausgabe Ausgabe 97
- Ausgabe Ausgabe 109
- Ausgabe Ausgabe 121
- Ausgabe Ausgabe 133
- Ausgabe Ausgabe 145
- Ausgabe Ausgabe 157
- Ausgabe Ausgabe 169
- Ausgabe Ausgabe 181
- Ausgabe Ausgabe 193
- Ausgabe Ausgabe 205
- Ausgabe Ausgabe 217
- Ausgabe Ausgabe 229
- Ausgabe Ausgabe 241
- Ausgabe Ausgabe 253
- Ausgabe Ausgabe 265
- Ausgabe Ausgabe 277
- Ausgabe Ausgabe 289
- Ausgabe Ausgabe 301
- Ausgabe Ausgabe 313
- Ausgabe Ausgabe 325
- Ausgabe Ausgabe 337
- Ausgabe Ausgabe 349
- Ausgabe Ausgabe 361
- Ausgabe Ausgabe 373
- Ausgabe Ausgabe 385
- Ausgabe Ausgabe 397
- Ausgabe Ausgabe 409
- Ausgabe Ausgabe 421
- Ausgabe Ausgabe 433
- Ausgabe Ausgabe 445
- Ausgabe Ausgabe 457
- Ausgabe Ausgabe 469
- Ausgabe Ausgabe 481
- Ausgabe Ausgabe 493
- Ausgabe Ausgabe 505
- Ausgabe Ausgabe 517
- Ausgabe Ausgabe 529
- Ausgabe Ausgabe 541
- Ausgabe Ausgabe 553
- Ausgabe Ausgabe 565
- Ausgabe Ausgabe 577
- Ausgabe Ausgabe 589
- Ausgabe Ausgabe 601
- Ausgabe Ausgabe 613
- Register The Index To Volume XII 619
-
Band
Band 12.1868
-
- Titel
- The photographic news
- Autor
- Links
- Downloads
- Einzelseite als Bild herunterladen (JPG)
-
Volltext Seite (XML)
April 9, 1868.] THE PHOTOGRAPHIC NEWS. 173 therefore, the quantities of actinic light necessary for making a visible impression under one, two, three, . . 9 strips, will be— n, n-, n3, n 4 , n 3 , n 6 ... n9 ; that is, the quantities of light indicated by the appearance of the degrees of the photometer form a geometrical series, of which the numbers of degrees are the exponents. From this law you now make a very important conclusion for practice ; for you receive a new paper with another degree of sensitiveness. You have not necessarily to determine by long experiments the printing degrees for the new paper ; but it is sufficient to make a single experiment with a single nega tive, in the manner before described. If the printing degree for this negative on the old paper was, for instance, = p, and for the new paper you find, for instance, the printing degree = r, then the quantities of light for printing out the same negative on old and on new paper, are in the pro portion— nP „ _ 1e n6-p n r therefore, if you will make a print on the new paper it fol lows that you have necessarily a quantity of actinic light, which is for nV-P) times larger than the quantities neces sary for printing on old paper. For this reason, if the print ing degree for any negative for old paper was, for instance, = t>, then the quantity of actinic light necessary for printing out on old paper this negative was n‘ ; and if you will make from this negative a print on new paper, you have neces sary a quantity of light, which is n"” —P) times larger; that is, = n” X n’-P) = n" + (P). Now, the exponents v r p, &c., are the numbers which I name the printing degrees; therefore, the printing degree for the negative above mentioned is = v + r —- p, and from this follows:— If you will have the printing degrees for any new paper, for all the negatives, from which you know already the print ing degrees for an old paper, you only add the difference between the two printing degrees, determined by a single experiment with a single negative to all known printing degrees of all your negatives. I use the instrument for carbon printing chiefly. For observing the number made visible by light a little practice is necessary. Recently I have used the instrument also in reproducing photographic enamels, with the process Ober- netter or Joubert; also for making aniline prints (process Willis). A transparent glass positive gave a well exposed aniline print with 8° of my photometer ; the same positive gave an image for enamelling (process Obernetter) with 15° of my photometer. This shows that the aniline printing process is much more sensitive than the Obernetter enamel process and the carbon process. For the latter, the printing degree for a medium negative on Swan’s paper = 16° ; on Rowell’s = 11°. For photo-lithographic and similar pur poses, I shall try the instrument shortly. For determining the time of exposure in producing negatives, the mode of using the instrument is a little different from the way above mentioned. Here a table is necessary, calculated by myself, which I shall publish another time. PICTORIAL EFFECT IN PHOTOGRAPHY ; Being Lessons in Composition and CHLAROSCURA for PIOTOGRAPHERS. BY H. P. ROBINSON. Chapter XL " Many are the landscape painters who seem, in their studies from nature, as if they had never raised their eves above the horizon ; and among tile proofs of the indifference of those who interest themselves in art to the beauty that canopies the earth, may be noticed that, although the composi tion and light and shade of clouds are as much within the reach of the photographic art as any of the other great things of nature, they are her only beauties it has hitherto neglected. I have seen but two calotypes of •hies, gnd these prove that it is from no want of power in the process that skies are not as common in our photographic exhibitions as any other subjects.’'—Leslie. “To admire on principle is the only way to imitate without loss of originality.”—Coleridge. The Sky. When Mr. Leslie wrote his Hand-Book for Young Painters, from which one of the above quotations is taken, very little had been done towards the photographic representation of cloudland. I shall always esteem it one of the proudest recollections of my life that I had the honour of knowing this great painter—one of the greatest England has pro duced. He always took great interest in our art, and it was a good deal by his kind appreciation of my earlier efforts, and encouragement against much opposition, that I persisted, whether rightly or wrongly, in my endeavours to make photography the vehicle of pictorial effect. But this is commencing with a digression, all the more objectionable because it is personal. Dealing with this part of my subject affords me an opportuhity, however, of which I avail myself as a pleasure and a duty, to record a personal knowledge of the interest taken by this great painter in the art-capacity of photography. Since the time when the Hand-Book was written (1854) photographers have, it is true, turned their attention tc the sky, but only in a fragmentary sort of way, and not with a steady determination to make the most of it in their pictures. The importance of the sky as an aid to effect in landscape cannot be over-rated. In a letter to a friend, quoted in the work I have just mentioned, Constable, who was an enthusiastic admirer and follower of nature in his works, and who spent entire summers in painting skies, thus writes, and his observations should be taken to heart by all landscape photographers :—“ That landscape painter who does not make his sky a very material part of his com position neglects to avail himself of one of his greatest aids. I have often been advised to consider my sky as ‘ a white sheet thrown behind the objects !’ Certainly, if the sky is obtrusive, as mine are, it is bad; but if it is evaded, as mine are not, it is worse ; it must, and always shall, with me. make an effectual part of the composition. It will be difficult to name a class of landscape in which the sky is not the key-note, the standard of scale, and the chief organ of sentiment. You may conceive, then, what a ‘ white sheet ’ would do tor me, impressed as I am with these notions— and they cannot be eironeous. The sky is the source of light in nature, and governs everything ; even our common observations on the weather of every day are altogether suggested by it. The difficulty of skies in painting is very great, both as to composition and execution ; because, with all their brilliancy, they ought not to come forward, or, in deed, be hardly thought of, any more than extreme distances are; but this does not apply to phenomena, or accidental effects of sky, because they always attract particularly.” Although I do not think it advisable to make a too liberal use of quotations, I cannot forbear adding Leslie’s own testi mony to the value of the sky, and which contains a very beautiful thought:—“ Rocks, trees, mountains, plains, and waters, are the features of a landscape, but its expression comes from above; and it is scarcely metaphorical to say nature smiles, or weeps, and is tranquil, sad, or disturbed with rage, as the atmosphere affects her. Hence the para mount importance of the sky in landscape—an importance not diminished, even when it forms but a small portion of the composition.” It often occurs that a view must be taken of a scene that composes badly, and of which, from accidents of the ground, it is Impossible to select another point of view. The artistic photographer now has his remedy in the sky, and if he understands the use of it for producing pictorial effect, he may redeem the ugliness of a scene not worth photographing for itself, but which may be interesting from its associa tions. The sky is the natural background of the landscape, and | should be of the same use to the landscapist as a background
- Aktuelle Seite (TXT)
- METS Datei (XML)
- IIIF Manifest (JSON)