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The photographic news
- Bandzählung
- 12.1868
- Erscheinungsdatum
- 1868
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- Englisch
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 517, July 31, 1868
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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
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- Register The Index To Volume XII 619
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Band
Band 12.1868
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- The photographic news
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July 31, 1868.] THE PHOTOGRAPHIC NEWS. 365 very apparent. Again I struck out; this time following “ a burn," iu remembrance of an old Highlander’s advice given me twenty years before, under somewhat similar circum- stances, iu the Perthshire Highland; “Follow a burn, sir; always follow a burn ; it’s sure to lead to some place of abode.” It did lead, indeed, to a rude bothy, where two old hags were sitting, like the witches in Macbeth, over a pot above a peat fire, but silent and contemplative. From them I learned the way to Dr. McAlister’s, of “Strathaird,” men tioned by Sir Walter Scott in his Notes to the “ Lord of the Isles." A real Highland welcome awaited me, and dry clothes in exchange for my dripping garments, and the pleasure of cultivated society, for the doctor’s house is a kind of sana torium for officers and others who may have suffered from the effects of climate or a too free indulgence in the pleasures of the mess-table ; and in this lone retreat from all temptation I found Crimean and Indian officers, who had regained that health amid the wilds of Skye which they had sought in vain elsewhere. My way was now clear. The pressing invitation of the worthy doctor to make his house my base of operations, as it was so much nearer than the inn in Glen Sligachan, made the scenery of Loch Ooruisk and the Cuchillins un fait accompli. The doctor’s Skye ponies convoyed us over the hills each day, and boats awaited us thence to Loch Scavaig. Captain L. and Captain B. made pleasant what would other wise have been a physical impossibility; Malcolm was the best of gillies ; Ronald the best of ponies—when you let him have his own way, which sometimes brought him to grief. What fishing and what photographing we had! Wet through were we nearly every day, and sometimes unable to effect a landing on the rocks for the surf and swell; but what matter? a warm welcome always awaited us, and sea water never inflicts cold. That seal we just missed shooting ; that eagle which passed so near ; that tremendous sea we shipped, and spoiled the tobacco and cigars, were all after wards pleasant recollections. Night-fishing was popular and exciting. Captain L., after a successful night on Rat Island, planned a night at Loch Ooruisk. Malcolm collected drift-wood for a bivouac fire by a cave thereabouts the day before, and provender sufficient was taken at the time. Talk of a formal London dinner party !—that night, by the lonely shores of Loch Ooruisk, under the shadow of the “ Coolins,” was something to be remembered for evermore. A successful day, both with fish and negatives, was closed by a night with nature in her wildest aspects. Around us was the scene which Scott makes Bruce describe :— « The good Bruce to Ronald said, ‘ St. Mary! what a scone is here! I’ve traversed many a mountain strand, Abroad, and in my native land, And it has been my lot to tread Where safety more than pleasure led; Thus many a waste I've wandered o’er, Clombe many a crag, crossed many a moor : But, by my halidame, A scone so rude, so wild as this, Yet so sublime in barrenness, Ne’er did my wandering footsteps press, Where’er I happ’d to roam.’ ” The night was fine, and the echoes for which this place is remarkable sounded still more strange. A gun fired gave a prolonged reverberation like the noise of the Dutohmen’s bowls heard by Rip Van Winkle in Sleepy Hollow. The Alma was reascended by the light of a bivouac-fire of drift wood, amid the smoke of cigars and tobacco. Such a summer night was all too short, and long before we were wearied of it, Coolin’s Cliffs glowed red in the morning sun. But all things must come to an end, and the moment of my departure, too long delayed by the urgent hospitality of the whole party, at length arrived. After another day like the preceding ones, a late dinner, an evening cigar, and Malcolm was ordered to have the horse and dog-cart ready at twelve p.m. for a long midnight ride through the mountains to Broadford Bay, to catch the Hebridean steamer at five a.m. going south. Ono brought a rug, another a watch-coat that had done duty in many campaigns, another cigars, another something else, and, amidst hearty farewells and real regret, the horse’s head was turned southward. The night; was chilly, and the huge hills stood out dim and mysteriously on either band, except in one quarter, where the Aurora Borealis glowed like a reflection from some great conflagration until morning dawned. In no part of the Alps or the Appenines have I seen a sunrise to exceed in beauty that which spread itself above the Bosshire Hills on that morning. The steamer stood in for the bay soon after five p.m., and, with a good-bye and a gratuity for Malcolm, I jumped into the boat waiting to take me to the packet. Another long day of dreamy quietude while steaming along the coast and through the Western Islands, and late at night the red lights streaming across the bay told me we were going into Oban. o ON RETOUCHING NEGATIVES. 1 BY DR. VOGEL. [A recent number of Dr. Vogel’s Mittheilungen contains two prints from a pair of card negatives of the same person at the same time: one negative is touched to remove freckles, spots, and physical imperfections, and the other left in its natural photographic state. The improvement effected by working on the negative, without in any degree altering the likeness, is very great indeed. We subjoin a conden sation of Dr. Vogel’s article on the subject.] There was a time when photographers used to take a pride in furnishing untouched pictures, and were apt to regard with feelings of disdain any photograph which re quired subsequent mending or beautifying. The object to be fulfilled in retouching is to rectify inherent faults in a picture. These faults, or imperfections, are of two kinds, viz., those produced through the ignor ance and carelessness of the photographer, from insufficient illumination, faulty exposure, bad manipulation &c., and those which may be said to be inseparable from the art of photography, which, as the painter justly observes, gives too much detail, and renders the unimportant points of a picture with as much force and vigour as the important ones; moreover, in the reproduction of lights and shadows photography is sometimes guilty of exaggeration, depicting the former too glaringly, and the latter too darkly, and when different colours are included in the picture, often reversing the order of their brilliancy. For the first named imperfections the photographer is alone responsible, and retouching for the purpose of covering up these faults is certainly a practice to be deprecated ; on the other hand the employment of a method capable of correcting blemishes inherent to the art itself is quite as justifiable as the sub sequent finishing process to which an engraved copper plate is subjected prior to its deposit in the printing press. As M. Grasshoff remarks in his recently-published work on retouching, the rectification of faults may be brought about either by a previous treatment of the original object, prior to its being photographed (as, for instance, by powder ing or covering up dark spots with ultramarine), or the modification may be effected upon the negatiyc or the posi tive. There are, therefore, three kinds of retouching; viz., the original, the negative, and the positive methods ; the last being the least recommendable on account of its being the least permanent. Pictures improved by this method are affected by simple rubbing, whereas retouching by the other processes secures positives which are as permanent as per fectly untouched photographs, inasmuch as any improve ments which may have been effected are copied into the paper. Besides, in using the positive retouching process the work has to be repeated for every separate print, while one retouched negative will yield several hundred serviceable positives. For this reason the negative process is most frequently practised, and has been in vogue in some estab lishments as long as fifteen years. Rabending, of Vienna 1
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