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The photographic news
- Bandzählung
- 12.1868
- Erscheinungsdatum
- 1868
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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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July 31, 1868.J THE PHOTOGRAPHIC NEWS. 367 tice be made use of for the harmony of the whole, but the light and the shade will be thus rendered more intense by ng. 3. toe force of opposition. Now, whether the dark which is carried to the light side be very small or very large, and vice versd, we have the groundwork of some of the most powerful and most natural effects. If the light is placed near the horizon—as in evening skies, for example, such as it frequently is in Cuyp—we see it rising upward until lost in middle tint in the upper part of the picture, and the middle tint descending into shadow by means of trees, figures, &c., thus making a sweep round the picture, and thereby afford ing the greatest opportunity for breadth of effect. If the two extreme points are connected by intermediate figures, so as to form but one group, we have the greatest firmness, as the light part of the group will be relieved by a dark ground, and the dark part of the group by a light ground; if we pursue the contrary practice, and place the dark part of the group on the dark ground, we have more breadth and soft ness of effect. There is no want of examples in nature or iu pictures to warrant our following either mode.” It is, perhaps, necessary to state that the illustrations are purposely exaggerated to show the effect more clearly, but the truth of nature should never be violated to produce an effect. Photography gives facilities for approaching suf ficiently near to tho rules of art without that. Midnight shadows should never be mixed with the light of day, even in painting, although it has been managed with great effect by some great masters of the art—Tintoretto and Carravaggio for instance. Leslie says: “ This is the boldest fiction of chiaro scuro, but it is generally managed by the painters I have mentioned with such address that it silences criticism, and forces us to admire, whether we can approve or not. All that can be said in its defence is, that the elements of such a combination are from nature, though united as nature does not unite them. Conventionalities like this must be for given to genius, but I do not think they are to be recom mended to imitation ; and in saying so I have no fear of repressing the daring of genius, for genius—such as the men I have mentioned possessed—will always have its own way. Great ability may, however, exist short of theirs ; and I would gladly repress all who possess it from attempting things which the success even of greater painters cannot entirely sanction. And there is much need of this caution, because it is far more easy to imitate exaggeration of effect than to make simple truth so impressive as it has been made by Paul Veronese, by Claude, and by the best painters of the Dutch and Flemish schools, including Rembrandt, when he pleased to be included.” Photographers, therefore, must never rely on the excuse for departing from nature, “ Painters did it thus.” They must not defy, but court criticism—leaving themselves at liberty to reject it if it is obviously wrong—-and they must rely on nature for success. Photographers even of “ daring genius ” cannot afford to depart from nature, as these old painters did, partly because nature is a sure guide, and partly because it has not yet been settled what “ daring genius ”—as far as it applies to photography—really is. THE DIAMOND. BY JAMES MARTIN.* A few practical hints and observations may now, perhaps, prove of service to those of your readers who may have occa sion to use the diamond as a tool for cutting glass for photo graphic or other purposes. The diamond used for this pur pose is, as I have said before, generally of the spheroid variety, as being the hardest, and is used in its natural state. Polished diamonds are useless ; they will scratch, but not produce a clean cut; and so with all other gems or crystals. The only hand diamonds used by glaziers are the plow and the swivel; the latter is that usually employed ; it is, I believe, more costly than the former, but far easier of application. The form of the swivel diamond is so well known as to need no illustration. Its parts consist of the shank or handle (some times called the stick), the ferrule, and the steel swivel upon which the diamond is set, and which turns to enable the workman to lay the diamond rightly. The great secret of being able to cut with a diamond lies in observing the angle at which the bottom of the swivel inclines, and keep ing this, when cutting, perfectly parallel with the face of the glass to be cut. The angular form of the facets of the diamond varies greatly, and must therefore influence the slope at which it can cut; the bottom of the swivel is sloped accordingly, and acts as a guide. A good diamond, well used, will cut so thoroughly through a piece of glass that t will fall in two without pressure from the hands. The cause of the fracture of the glass at times not following the cut made by the diamond, and so spoiling the work, is from the workman not keeping the diamond at an equal slope from beginning to end of the cut; and also may be caused by un equal pressure. It is found that the diamonds used by some cannot be used by others. The bones of the shoulder, the elbow, and wrist are not set alike in all men, and have some thing to do with this, also their particular habits of motion, arising in great measure from their different callings; but 1 believe, by practice, any good diamond can be used by any one; but it is better to purchase such an one as suits the usual habits of the hand of the purchaser, and never to per mit its use by any one else, or it will soon need resetting, and perhaps become worthless, as all diamonds have not got more than one cutting facet. I have heard many complaints about deception being practised by dealers in glaziers’ diamonds, but do not think that any respectable house would be guilty of it. Before purchasing, the diamond should be examined with a strong magnifying lens, to see that it has not been chipped or split by a fall. The setting should be looked to. It should then be tried on a piece of glass, and the cuts made examined, to see that it cuts deep and clean without scratching. If (say) half a dozen clean deep cuts, the glass afterwards separating readily, can be made with a diamond right off, I do not think its suitability and usefulness need be feared. Diamonds are sometimes set in the handles of pocket knives, and are very portable and convenient for amateurs. Diamonds are set of different sizes, according to the thickness of glass to be cut. Thus the plate glass or flush diamond is of large size, while the one used for cutting thin microscopic glass is small. There are also what are termed circular diamonds, and diamonds cutting upon movable circular tables, used for cutting glasses for magic lantern slides, clocks, &c. Ovals are also cut generally by shapes applied upon the glass, but are sometimes executed by machinery. TWO SIMPLE AND PRACTICAL METHODS OF PRINTING UPON IVORY. BY DAVID DUNCAN Ivory is difficult to manipulate for photographic purposes, and success has been rare except in the hands of a few skil ful votaries of the art. Having succeeded with the follow- * Continued from p. 282.
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