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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 12.1868
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36G THE PHOTOGRAPHIC NEWS. [July 31, 1868. was the first to call public attention to the method, and although it is still regarded by many photographers with some contempt, this mode of retouching is extensively employed. With reference to the technical elaboration of the nega tive retouching method, M. Lindner [the photographer who furnishes the illustration] remarks :—“ The retouching takes place upon the varnish. In several experiments of retouch ing, undertaken upon the plate prior to its being protected, I remarked that the subquent application of the varnish altered the opacity of the material employed, whether it was blacklead or colour, in the same manner as the negative itself is altered. The operation may be performed in two ways ; the easiest and quickest method being to employ a blacklead pencil (Faber’s No. 3 or 4, according to the com position of the varnish) for the purpose, and where the intensity of the lead is not sufficiently great, to cover up with darker colours. A negative retouched in this manner does not, however, possess anything like the delicacy and brilliancy of one manipulated with a pigment possessed of light-covering properties, yielding an uniform film,—as, for instance, a mixture of Chinese white and sepia. As the colour must be laid on in a dry state, and very sparingly, it is necessary to work with a soft brush, as a hard one would require a considerable amount of moisture to render it suffi ciently pointed for the purpose. As a support I use the well- known transparent retouching plate.” “ This is the whole of the process as seen from a technical point of view; as regards artistic finish there is naturally plenty of scope for one's talents. For instance, the outline of the nose may be improved, the eyes may be opened wider, the mouth may be curtailed (by skilful covering up of the corners), further improvements being afterwards made upon the positive, if desired. The lights may likewise be modified by the application of colour to the glass surface of the nega tive, and the shadows softened down ; the latter being well effected by the employment of carmine. Details in the drapery, the hair, or background, may also be effected.” According to M. Lindner’s process, then, it will be seen that not only is it possible to correct any faults which may arise in photography, but it is likewise possible to cover up any imperfections existing in the original. Large noses may be made small, dark spots may be lighted, old women may be made young, and, in fact, the method may be regarded as a perfect “ Adonising processindeed, so effective is it, that if extensively applied in studios, ladies of doubtful age might always be asked the question how old they desire to appear in their pictures, whether above or under fourteen years of age. We will not, however, recommend the carry ing too far of any retouching process which, while it may gratify the vanity of the public, and thereby 7 help to fill the pockets of the artist, fails to reproduce the truth. PICTORIAL EFFECT IN PHOTOGRAPHY ; Being Lessons in Composition and Chiaroscuro for Photographers. BY H. P. ROBINSON. Chapter XXVII. " The highest finish is labour in vain, unless, at the same time, there be preserved a breadth of light and shadow. It is a Quality, therefore, that is more frequently recommended to students, and insisted upon, than any other whatever; and, perhaps, for this reason, because it is most apt to be neg lected, the attention of the artist being so often entirely absorbed in the detail.”—Sts Joshua REXXOL.DS. Chiaroscuro—(continued). The light and shade of a landscape cannot bo materially altered by the photographer, nor is it necessary that he should do so; but the chiaroscuro of nature is so continually changing that he may select the effect that gives the most pleasure to the educated eye. A few sketches of the arrange ments of light and dark as employed by the best artists may assist him in making his selection. 11 is desirable that all lights should have a focus, just as light falling on a globe is more brilliant on one small spot than on any other part; and all lights in a picture should be treated as parts of a whole, and subordinated in various degrees to the principal light. Fig. I represents a simple form of chiaroscuro much used by many artists. In thio Fig. 1. arrangement the highest light is opposed by the darkest dark, and the light fades away in every gradation of middle tones. The two extremes assist each other by contrast, and produce a most forcible and startling effect, with great breadth. It will bo found in the works of Bonington, Collins, Cuyp, Both, and many other painters of coast and flat scenery, to which it is well adapted. Many admirable examples—especially by Collins—may be seen in the South Kensington Museum. The reverse of this, in which dark takes the place of light, is shown in fig. 2. This effect may Fig. 2. often be noticed in moorland scenery or in a flat country, when the clouds graduate upwards from a dark horizon. The shadow of a cloud may be thrown over the distance, while the foreground may be illuminated by intense sun light ; or the effect may be caused by belts of trees. How ever produced, the effect is very beautiful, and is one that, now greater attention is paid to passing effects and the sky, may be easily produced in photography. In this arrange ment a mass of extreme dark in the light part of the fore ground will be found invaluable ; or, still better, a figure or other object in which is combined the extremes of black and white. This will be found to throw the rest of the picture—consisting of gradations short of black and white— into harmony, by creating a focus, as it were, more bril liant, and overmastering the other lights and darks in the picture. Turner’s "Temeraire ” is an example of this form of composition. In figure 3 the darkest shade is relieved by a light object, and the highest light by the principal spot of dark. Burnet, in writing of a similar design, says:—“ If a diagonal line be drawn through the picture, and the extreme dark and extreme light be placed at opposite sides, wo must of necessity have the greatest breadth of effect. If a balance or union between the two sides be wished, there is no other way but by borrowing a portion of the one and exchanging it for a portion of the opposite; and not only may thisprac-
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