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)
304 THE PHOTOGRAPHIC NEWS. [June 26, 1868. youth was capable of painting his backgrounds, he stood in no need of further instructions ; that the regulation and management of them required the most comprehensive knowledge of art. It would be impossible to give definite instructions for the management of the background, but the treatment of differ- ent artists may be alluded to. The system adopted in most of his pictures by Adam-Salomon, following the plan of many of the most famous portrait painters, appears to be that the lightest side of the figure shall be relieved by dark, and the darkest side by light. The upper corner of the picture, on the side from which the light comes, is intensely dark, which is gradated diagonally across the picture into middle tint behind the head, which is again more abruptly opposed and carried away into dark by the accessories, or is again allowed to die away into shade.* He also appears to appreciate the value of a vertical line in the background to give stability to the composition, usually obtaining it by the straight lines of a fluted column (an objectionable accessory, in my opinion, for reasons which I shall give in the next chapter). There can be no doubt that these pictures of M. Adam-Salomon are the most effective portraits, containing all valuable qualities, that have yet appeared in photography, and afford a most valuable lesson to photographers. The backgrounds to the portraits of Sir Joshua Reynolds are always worthy of study, whenever they can be seen. Some of his finest and richest pictures have a dark ground, on which the head shines like a jewel 4 many are relieved in the manner employed by Adam-Salomon ; and it is to be noticed that in nearly every picture in which the background is gradated, he has introduced one or two vertical lines to aid the composition, generally a dark line and a light one, a mere suggestion of a pilaster. His landscape backgrounds were always singularly appropriate and natural, although the horizon in many instances is lower than we should feel justified in representing it in such a truthful art as photo graphy. Although his practice was to relieve the dark side of the figure with light, and the light with dark, in his discourses he advocates an opposite treatment, one which is to be found in the work of Coreggio and other painters of his school. In commenting on the precept of Leonardo da Vinci, that the shadowed side of the figure should be re lieved by light, Sir Joshua says :—“If Leonardo had lived to see the superior splendour and effect which has been since produced by the exactly contrary conduct — by joining light to light and shadow to shadow—though without doubt he would have admired it, yet, as it ought not, so probably it would not, be the first rule with which he would have begun his instructions.” On whichever principle the photographer arranges his background, he must remember that it should relieve the figure, and not produce an inlaid effect, and that it should pre sent with the figure an agreeable breadth of light and shade. When will background manufacturers supply gradated screens ? They all tell you that it is impossible to produce them. This I know to be an error. They are difficult to paint, but I know from actual experience that the thing can be done. If photographers would insist upon having what they wanted, they would get it. They should not be content to use anything with which the manufacturers choose to supply them. PHOTOGRAPHIC PRINTING IN SILVER, THEO RETICAL AND PRACTICAL. BY W. T. BOVEY. Tonino Baths and Toning Difficulties, ErC.+ Then, by what means do the toning methods usually em ployed perform the desired work ? Chlorine having an affinity for the alkaline base known as sodium, such base, in connection with some acid, is employed. * An admirable and lucid description of the studio arrangements by which this effect is obtained appeared in the account of M. Salomon’s studio, by the Editor, in the Photographic News, January 24,1808. t Continued from p. 292. First, carbonate of soda demands attention. When chloride of gold was first introduced into photo graphy as a toning agent for silver prints, it was employed in connection with hyposulphite of soda. Of that form of toning bath I shall have more to say anon; at present I need only remark that certain defects caused the hypo bath to be almost generally discarded in favour of the alkaline toning solution devised by Mr. Waterhouse. In the absence of direct evidence, I must only surmise that the use ef carbo a- ate of soda, was suggested in this wise. It was found that a silver print immersed in a solution of chloride of gold mixed with a moderate quantity of water was immediately rendered unsightly by the over-active chlorine, and free acid was suspected of evil doing. To curb the acid, carbonate of soda was introduced, when it was perceived that the action became more steady and regular, and pleasing tones re sulted. Hence it was put down as a matter of certainty that to secure good tones the solution must be in a decidedly alkaline condition. Unlucky decision I — false, yet not un reasonable—drawn in days of inexperience. And bitter have proved the fruits of that unfortunate concoction of gold and alakalinity so imported. To collect clear water from a mud-stained stream the taint must needs be removed by some process of filtration. In like manner, by the exercise of reasoning, I shall endeavour to filter out the obscurity connected with the unsatisfactory soda methods of toning, and lay bare the principles which need only be clearly understood to make toning difficulties a thing of the past. From the fact of a concentrated chloride of gold solution (without an alkaline adjunct) proving too powerful for toning purposes we learn that the silver print exercises a disturbing influence which decomposes the gold combination when the print is exposed to its power; in other words, the prints, when immersed in a gold bath, attract and separate chlorine. By observing this fact we rid ourselves of the erroneous yet prevailing notion that carbonate of soda has anything to do with setting up toning action. The part played by the alkaline adjunct is clearly a retarding, not an initiating or accelerating, influence. Accept this argument, and I proceed to argue the whole matter in plainer detail. The chloride of gold of commerce consists of gold in combination with chlorine and free acid. In that state it is supposed to be quite unsuited for toning purposes; recourse is therefore had to (first) carbonate of soda. When this alkaline substance is added to the gold, the free acid is neutralised, and chloride of sodium is formed, whilst car bonic acid is set free. Now if the quantity of the carbonate of soda added is so nicely adjusted as to destroy the free acid and leave no excess of soda, we have a carbonate of soda bath in its best form, so that on introducing the silver prints into the solution they directly withdraw the chlorine from the gold, and the metal is deposited on the surface of the paper. But “ prints so treated turn up bleached and fearfully mealy," suggests experience. Granted; but the solutions misguided experience has been from the first in the habit of using are too cencentrated—too strong by many de grees. Dilution would remedy the evil. “ Then why not do away with soda altogether, and destroy the evil tendencies of the acid as well, by drowning it with a still greater supply of water?” Just what I am aiming after. We shall succeed, doubtless, by-and-by; at present I have to show the result of decided alkalinity, produced by an excessive quantity of carbonate of soda. When a quan tity of soda is added to a gold solution above that requisite for neutralizing the free acid, a second force is introduced, which battles for precedence with the attraction exerted by the silver surfaces of the paper. Silver has a desire to embrace the chlorine; so has the soda, which, however, enjoys a better chance by prior combination, as the soda must be added to the toning bath before the prints can be admitted. Between these opposing forces a kind of equilibrium is for some time preserved, until soda finally gains the day, and
- Aktuelle Seite (TXT)
- METS Datei (XML)
- IIIF Manifest (JSON)