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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
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- urn:nbn:de:bsz:14-db-id1780948042-186800009
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- http://digital.slub-dresden.de/id1780948042-18680000
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- oai:de:slub-dresden:db:id-1780948042-18680000
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- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Parlamentsperiode
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- Wahlperiode
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- Bandzählung
- No. 514, July 10, 1868
- Digitalisat
- SLUB Dresden
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Zeitschrift
The photographic news
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Band
Band 12.1868
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- Titelblatt Titelblatt I
- Kapitel Preface III
- Ausgabe Ausgabe 1
- Ausgabe Ausgabe 13
- Ausgabe Ausgabe 25
- Ausgabe Ausgabe 37
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- Ausgabe Ausgabe 589
- Ausgabe Ausgabe 601
- Ausgabe Ausgabe 613
- Register The Index To Volume XII 619
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Band
Band 12.1868
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- Titel
- The photographic news
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st be and ch a gard iown ides, they that con- then ard? irm- r de- dark fore ind; mell nind ch a joint and tion lave and Iped the ings eur, t be the the ■ans ed; tigh :sof the rith ilar is a the ind teir oth by lot pie tat be no od iy tie or or st ts it ut os - ir- be ept ry- are not Ik, st,’ 1U- he m e, » E f te July 10, 1868.] really is has its counterpart at the present time, even in our own art, and is followed by photographers who will defy nature and stick to precedent. As our author says :— Some painters will keep to the old road, because it is difficult to correct a rooted evil; they do as the old woman did, who, being ex horted in her last sickness to embrace the true faith, answered, ‘ She would follow the steps of her forefathers, were they all gone to the devil.’ There is a pernicious custom among some inferior photo graphers of collecting together a set of poses and fitting their sitters to them, or of allowing their customers to select their own, no matter how incongruous the thing may be, so that it is paid for. This is a detestable practice. Photo graphers should learn the principles of their art, and then invent poses for themselves, instead of crowing in borrowed plumes. The effect is peculiarly ridiculous when the feathers are too fine for the bird, and he endeavours to make a maid-servant look like a duchess. Here would be a time to introduce your column and curtain, if you like! Lairesse, with the instinct of a true artist, is very severe on a similar practice. I have discovered a great oversight in some artists, which is, that when the face is finished, they had no further regard to the life, but chose a posture at pleasure out of drawings and prints, without con sidering whether it suited the person, and whether the figure was proper to the condition turd countenance of the sitter; nay, whether the head matched the body ; certainly a great heedlessncss. If things be done without making distinction of persons and their conditions, the artist will work to his dishonour. He who steals thus may not indeed call the work his own without reproach. Some will object, as Michael Angelo did once to a painter who practised it with success: 1 If'lat will become of your pictures at Doomsday, when the parts shall return to their own wholes, seeing your soorks are made up of stolen pieces ? ’ In another place the writer complains of those who take the designs of others, and, by transforming them, make them their own. What one artist uses in the distance (he says) the other, that it may not be known, brings forward ; and what he has represented in the open air, the other contrives in a dark room. A poor method of concealment, but it is such men’s misfortune to be, in this par ticular, most out of the way when they think they do best; for, wanting the great master’s wit, judgment, and apprehension, they have no true notion of his conduct, and therefore are easily misled, and, like Alsop's raven, exposed to censure. I have only given a slight skimming of the contents of this rare old book, but I am overrunning my space, and shall conclude with a bit that might have been written anent the doings of some who write on photography and art at the present time. We find many artists never pleased with other men’s works, but, being full of themselves, despise everything they see, and this, perhaps, on no better bottom than a pique against the artist’s con versation, talk, dress, or money, or else because of his greater fame; and yet if ten persons happen to applaud a fine picture of this eye sore master, they will at that juncture chime in with them, to screen their prejudice. And, on the contrary, if but a single person after wards find fault, they immediately turn the tables against ton others. Again, if a piece of their friend be brought on the carpet, though never so faulty, they will applaud and justify it at any rate, though against their own convictions of conscience, if they have any. But thia partial and prejudiced humour is most prevalent in those who know least. ON THE PRINCIPLES OF LIGHTING AND OF CONSTRUCTING STUDIOS. BY DR. II. VOGEL. There is nothing of more importance for the professional portraitist than a judicious arrangement of his studio and lighting arrangements. Innumerable faults have already been committed in this matter; enormous sums have been dissipated in curious constructions, which have proved to be impractical in working, and which were found impossible to alter without great loss of money, if possible at all; and notwithstanding these experiences, different opinionsstill pre vail as to the best construction and arrangement of the glass room. “What is the best form, a high skylight or a lowone?" is still constantly asked. Art photographers of great influ ¬ ence utter opinions which are quite opposite to one another “ What kind of light has it ? ” is the first question asked regarding a glass house ; and this stereotyped phrase indi cates the chief point to be considered in constructing sky lights. I shall try to explain the principles of illumination in studios according to physical rules, and, at the same time, I shall review the actual construction of studios gene rally. Suppose a room which is enclosed on all sides by walls, and which receives its light through one single window, illuminated only by the light of the clear blue sky. Experience teaches that the brightness of light is different on different spots of such a chamber : the further a point is removed from the illuminating window the darker it will appear; anil the nearer it is situated to that window the brighter it will appear. But not only the distance of a point from the window, but also its situation in reference to the window, is of importance. A spot near the wall in which the window is placed will be much darker than a point situ ated at the same distance from, but quite opposite to, the window. First of all we must endeavour to explain this. Direct sunlight being kept out, it is the blue sky alone which affords light to the chamber. A certain point in this room will therefore be the brighter in proportion to the greater portion of the skylight sending its rays upon it. Suppose, for instance, a certain point a (fig. 1), opposite to a round window, it will be the top of a bundle of rays, the diameter of which will be appropriate to the aperture of the window. Suppose a second point, a', at a greater distance from the window : this is illuminated only by the cone of rays b a! c, which is much more narrow than the first. The cone of rays which illuminate the point e, situated at the side of the window, is still smaller, whence it follows that a must be brighter than a', and this brighter than e. In consequence of this, the aperture of the cone of rays—that is to say, the angle— formed by the lines which we may draw from the illumin ated point to the edges of the window, affords a criterion of the intensity of light for the point referred to. I beg to term this angle the angle of light. If the supposed point be situated within the wall the window is in, that angle of light would only form a straight line, and therefore such a point would be quite dark if it did not receive some light by reflection from the light walls. But it is obvious that not only the dark wall of the window, but also every other point of the chamber, receives such light reflected from the walls, ceiling, and floor. Therefore, every point within the ch amber, except the wall with the window in it, will receive
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