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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
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Parlamentsperiode
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- Bandzählung
- No. 518, August 7, 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
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- 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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AvaUsT 7, 1868.] THE PHOTOGRAPHIC NEWS. 379 rightly understood, so elaborate and yet so broad, the dark parts of the dresses of two women, who are washing at a classic fountain, repeat and support the dark tone of the tree ; the dark vine leaves brought out prominently on the light masonry also perforin the same office, and extend the shadow to the extreme right. The only bits of pure white in the original are on the woman’s dress in connection with extreme dark (see last chapter), and the piece of paper on the lute. These minute bits of pure white arc placed with a definite purpose and with extreme art, and help to bring forward the foreground and throw back the distance. In the distance, on a rocky eminence, stands the town of Orvieto backed by mountains, which is all treated with great tenderness and delicacy. The general arrangement of masses will be found somewhat similar to that described in chapter 27, figu-e 2. Few photographs have been taken uniting extreme force in the foreground with delicate and tender distances and skies. There is no reason, save that of a disinclination to take much trouble over such a simple thing as a photograph, why they should not be done. If photographers would say to themselves, “ This scene is as well worthy of my undivided attention and of all my skill as it would be that of a painter who would not hesitate to spend some weeks in painting it,” they would probably produce better results. I have never yet been able to see why a photograph should be confined to one exposure for foreground and distance, any more than it should be considered legitimate that an etching should have one biting only. In etching, the artist exposes his plate to the acid a longer time, and bites deeper for the deep shadows than for the lights; if he did not, he would get no variety of light and shade, and his work would be thin and weak. In photographing such a view as the one of Turner’s we have taken for illustration, I can see no reason why the fore ground should not be obtained in one negative, giving suffi cient exposure to bring out the necessary detail in the shadows; and the distance and sky on one or more nega tives, suiting the exposure to the effect required. The only technical objection would be, that it would require skill in the printing, which, in the eyes of many photo graphers, would be an immense advantage, the “ fatal facility ” of the art for producing rubbish being the great cause why photography as an art has not advanced further than it has done. Difficulties in art are necessary to its existence. If there was nothing to overcome there wonld be no incentive to exertion, and art would soon become a mechanical trade. Opie was always of opinion that the internal difficulties of painting were its very best friends, and, in one of his dis courses at the Academy related, the following apposite anec dote to prove his statement:—“ Two highwaymen (says a certain author), passing once by a gibbet, one of them, with an ill-boding sigh, exclaimed, ‘ What a fine profession ours would be if there were no gibbets 1’ ‘ Oh, you blockhead,’ says the other, ‘ how much you are mistaken ! Gibbets are the making of us ; for if there had been no gibbets every one would be a highwayman !” ON THE PRINCIPLES OF LIGHTING AND CONSTRUCTING STUDIOS. BY DR. H. VOGEL. Chapter II. in my first chapter I have explained the chief principles of calculating the direct brightness in a glazed room, and pointed out at the same time, by a series of examples, the consequences arising from that calculation, previously neglecting the effect of the light reflected by walls, &c., and he Joss of light produced by reflection during the transmis- 8on of light through glass. . To those who have followed attentively our explanations 1 will be of no difficulty at all to determine the amount of the light which falls on any point in the studio. With small apertures we can very easily calculate the relative amounts of light at different parts of the room ; with larger windows, which have some influence on the illumination, the best criterion is afforded by constructing the angle of light. To this purpose the studio (or a piece of it contain ing the acting glazed surface and the point which must be illuminated) must be drawn on paper, sketch and ground plan, and the angle of light constructed in the horizontal or vertical direction. These are not yet all the possible or interesting instances; indeed, there could be written a great volume on this subject. In these lines I only propose to write upon the effects of our most important constructions of studios. In my diagram I suppose a studio with its glazed side directed northwards. It is 32 feet long and 16 feet broad ; there is no interruption in the wall, and the front, h g, lies northward. At a I suppose a person at a distance of 5 feet from the glazed wall and of 4 feet from the back wall; the curtains are drawn in the space g h (28 feet). If we wish to state the effect of the glazed wall, g h, of 28 feet long, we are obliged to construct the angle of light g a h. Now suppose, instead of the long glass wall g h, another, g k, not directly situated northward, and of a length of 8 feet; the angle ka g will then be exactly as great as h a g ; that is to say, this small aperture of only 8 feet long will pro vide the studio with as much light as the other wall of 28 feet long; nay, even a wall, g I, of only 5 feet long, would afford the same amount of light to the person at a, but this would not be quite applicable, because the edge of the wall at I would conceal a great deal of the field of light to the apparatus at A. I have now proved that we could employ an inclined wall of 8 feet Jong instead of another of 28 feet without decreasing the original amount of light. The same is the case with glass roofs. A straight skylight of 28 feet could be substi tuted by an inclined one of only 8 feet long. If I now construct a studio with such a wall and an ana logous skylight, I get a room which, as to brightness, totally equals the great studio of 32 feet long. The effect of light would even be much greater with the small glass wall g k than with g h, as with the latter the light falls in under a
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