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-Identifier
- 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. 512, June 26, 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)
June 26, 1868.] TRE PHOTOGRAPHIC NEWS. 303 We have often urged upon manufacturers the importance of appending to the labels of all samples sent out ready salted the date at which the collodion was mixed. This plan would often afford the photographer data for forming an opinion, without a series of trials, of the probable fitness of each sample for different kinds of work for which it may be required. Failing to secure such advantages as this system of dating would give them, photographers may materially secure their own convenience by purchasing the plain collodion, and either adding the iodizing solution sup plied by the manufacturer, or such iodides and bromides as their experience may induce them to select from the various formulae we have published. A quantity so mixed, dated, and laid down to ripen, say once in six months, would enable the photographer to have a constant supply in uni form condition, instead of being subject to the fluctuations in the age and working qualities of his collodion which must inevitably arise when he must use to-day that which he purchased yesterday from the manufacturer. PICTORIAL EFFECT IN PHOTOGRAPHY ; Being Lessons in Composition and Chiaroscura for PHOTOGRAPMIERS. BY H. P. ROBINSON. Chapter XXII. "By the choice and scenery of a background we are frequently enabled to judge how far a painter entered into his subject, whether he understood its nature, to which class it belonged, what impression it was capable of making, what passion it was calculated to rouse. Sometimes it ought to be negative, entirely subordinate, receding, or shrinking into itself ; sometimes, more positive, it acts, invigorates, assists the subject, and claims attention.” —Fuseli. BACKGROUNDS and Accessories. In portraiture the background, often neglected and considered as but of little moment so that it be clean and smooth, should hold a very important place when the composition and chiar oscura of the picture is considered. The backgrounds of his portraits was thought to be of so much consequence by Sir Joshua Reynolds that he frequently declared that what ever preparatory assistance he might admit in his draperies or other parts of the figure, he always made it a point to keep the arrangement of the scenery, the disposition and ulti mate finish of the background, to himself. The most carefully manipulated portrait, exhibiting the most delicate photo graphy, and the most refined light and shade and composi tion, may be destroyed, or its beauty much impaired, by an ill-chosen background; or it may be efficiently aided and supported by a proper and suitable arrangement of form and light and shade in this important portion of the picture. The general practice with most photographers, until lately, has been to employ a perfectly plain, even-tinted background, or badly painted representations of interiors or landscapes ; but last year the large collection of pictures by Adam-Salo mon in the Paris Exhibition convinced photographers of the extreme value of light and shade, gradation and tone, behind the figure, to relieve some parts and to hide others, do give breadth and concentrate attention to the principal feature, the head. Other photographers have known the value of this effect, and have exhibited their results, but never so large and convincing a collection as the one I have mentioned. In using a plain background, without any variation of light and shade, the photographer throws away a great advantage. Nothing could be more antagonistic to breadth, atmosphere, and richness—nothing could so surely secure a flat, inlaid effect of the figure - than a plain background. It would be difficult to find a surface without gradation in nature. Take the plain surface of the wall of a room as a background, and you will not find it easy to discover a sufficient space for a background on which a shadow modifying its even tint does not fall. The cloudless sky is marvellously gradated from the zenith to the horizon ; and so you may' go through out all nature till you surprise yourself with the discovery that the only plain, blank thing in this world is a photo grapher’s background, on which the equal light falls from a broad expanse of glass. Ruskin, in his “ Elements of Drawing,” has a fine passage on gradation of colour, which is equally applicable to light and shade, and, therefore, to •our subject. It is so just that I need not make any apology for introducing it here :—“ Whenever you lay on a mass of colour, be sure that however large it may be, or however small, it shall be gradated. No colour exists in nature, under ordinary circumstances, without gradation. If you do not see this it is the fault of your inexperience ; you will see it in due time if you practise enough. But in general you may see it at once. In the birch trunk, for instance, the rosy-grey must be gradated by the roundness of the stem till it meets the shaded side ; similarly, the shaded side is gradated by reflected light. Accordingly, you must, in every tint you lay on, make it a little paler at one part than another, and get an even gradation between the two depths. This is very like laying down a formal law or receipt for you ; but you will find it merely the assertion of a natural fact. It is not, indeed, physically impossible to meet with an ungradated piece of colour, but it is so supremely impro bable that you had better get into the habit of asking your self invariably, when you are going to copy a tint, not 1 Is that gradated?’ but, ‘Which way is that gradated?’ and at least, in ninety-nine out of a hundred instances, you will be able to answer decisively after a careful glance, though the gradation may have been so subtile that you did not see it at first. And it does not matter how small the touch of colour may be, though not larger than the smallest pin's head, if one part of it is not darker than the rest, it is a bad touch ; for it is not merely because the natural fact is so that your colour should be gradated ; the preciousness and pleasantness of the colour itself depend more on this than on any other of its qualities, for gradation is to colours just what curvature is to lines, both being felt to be beautiful by the pure instinct of every human mind. * * * What the difference is in mere beauty between a gradated and ungradated colour may be seen easily by laying an even tint of rose-colour on paper, and putting a rose-leaf beside it. The victorious beauty of the rose, as compared with other flowers, depends wholly on the delicacy and quantity of its colour gradations, all other flowers being either less rich in gradations, not having so many folds of leaf, or less tender, being patched and veined instead of flushed.” Further on he says “ You will not, in Turner’s largest oil pictures, per haps 6 or 7 feet long by 4 or 5 high, find cne spot of colour as large as a grain of wheat ungradated ; and you will find in practice that brilliancy of hue and vigour of light, and even the aspect of transparency in shade, are essentially de pendent on this character alone: hardness, coldness, and opacity resulting far more from equality of colour than from nature of colour.” It is thus with photographs and pictures in monochrome : an isolated mass of dark is not rich, neither is a separated space of light brilliant; it is opposition and gradation of the one with the other that produces richness and brilliancy. There fore a plain background is the most destructive to pictorial effect that could be placed behind a figure. A glance at the illustrations to a recent chapter will show that one of the effects of a plain background is to represent the figure as cut out and stuck down on a piece of plain grey paper. Haydon called the background the most hazardous part of the picture, and a subject that required as much consi deration as the figures, because, be the figures ever so good, their effect may be seriously injured by ineffective support. There is a story told of Rubens by which it will be seen that he also considered that to the effect of the picture the back ground is of the greatest importance. A young painter being anxious to enter Rubens’ studio as a pupil, induced an influential friend to recommend him, who did so by informing the great painter that he was already somewhat advanced in art, and would be of imme diate assistance to him in his backgrounds. The great painter, smiling at his friend’s simplicity, said, that if the
- Aktuelle Seite (TXT)
- METS Datei (XML)
- IIIF Manifest (JSON)