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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. 531, November 6, 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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532 THE PHOTOGRAPHIC NEWS. [November 6, 1868. designed solid object, placed in half shade; in these cases the camera may he moved ad libitum, as in plain back grounds ; there are no perspective lines to distort, and solid accessories vary their perspective with truth according as the point of sight is altered. To prove that this proposition is founded on correct theory, let the reader, by way of experiment, study the appearance of solid and painted objects from various points upon the ground glass of the camera, and he will find that solids will retain their truth of perspective when seen from any angle of view, whereas painted ones will, from any other than their proper point of distance, appear distorted. How ridiculous, then, must be the effect of a number of such articles, each having its own point of sight, jumbled together in one pic ture ! The most perfect scenic representations are to be found at the theatres; from them we should borrow our theory, and, as far as possible, follow their practice in these matters. Stage painters always arrange their perspective from what is sometimes called the painter’s point: this is the front box, in the lower tier, behind the pit; from this spot the scenery and side slips all unite in pictorial effect so naturally as to appear marvellous. Now step into one of the side boxes near the stage, and the enchantment will vanish, the scenery will appear badly arranged, and the perspective false, for you are no longer looking at it from the proper point of view; before, however, leaving this box, notice the stage floor, and you will find that it slopes upwards to wards the horizontal line of the scene, and is so arranged as to make the stage appear much longer than it really is. Thinking that this principle might, perhaps, prove of service where scenic effects are required, I send you a diagram and explanation of the method of finding the correct incli nation of any floor, for any proposed increase of apparent length. The diagram will explain the principle whereby the appearance of increased depth is given to the stage by theatrical painters, and which, I think, might be used to some advantage by photographers. Suppose, for example, a studio which will allow 30 feet in length from the camera lens to the background; place the camera at A, the lens being 4 feet from the floor or base-line B, which must be drawn to scale of such a length as the stage is required to appear, which we will sup pose, in this case, to be 60 feet. The height of the lens from the ground will give the height of the horizontal line in the scene. Now mark off from the lens upon the base line 15 feet, and make a mark; this will give the space requisite for general convenience, which in a theatre would represent the pit or space between the front box and the stage. Make also a perpendicular line at 30 feet; this gives the real length of the studio between the lens and the back ground ; draw a line down from the lens to the end of the base-line at 60 feet, and where it crosses the perpendicular line made to represent the real distance of the background from the camera is the height to which the floor or stage is to be raised, and it will correspond with the horizontal line at the height given for the camera lens. The real length of the stage is not arbitrary, but may be varied in proportion to that of the pit; but the rise in the floor should not commence nearer to the lens than the width of the scene to be represented. In short studios the apparent increase of length will be circumscribed, as the greater the apparent length in proportion to the real length, the greater the rise of the floor must be, and therefore the more acute the angle of the floor from the base-line. A low horizontal line will be found preferable in scenic effects as accessories to por traiture for many reasons: it gives, for instance, a nobility of appearance to the figure ; the head and shoulders are thus placed against the sky, and are not cut by the horizontal lines in the scene; the camera is not tilted, and the faint colour of the sky and distance gives relief to the head with out needing its shadows to be heavy ; it avoids, also, the chance of the comical eflect which might be produced by the conical summit of some neighbouring hill appearing as a cap of liberty on a gentleman’s head, or, in case of a pro file, a too strongly-marked representation of a river issuing from his mouth. Care should, in all cases, be taken by the painter that the scene is not too pronounced. Painters pro vide a platform or high chair on which they seat their patrons, and by this means the horizontal lines are made to conform with the picture to be painted. The horizontal line is an attribute of vision, and its laws are unalterable ; photographers should understand that as they do not use their heads as cameras, or their eyes as lenses, but instruments made by the opticians, they therefore delegate the power of seeing and representing the intended picture to these instruments; hence, under whatever circumstances and in whatever position they place them as regards the scene before them, so accordingly will they represent the picture they produce, and not as they themselves may view it. Such being the case, they can only hope to obtain scenic representations in correct perspective by placing the camera always at the painter's point, at the same time taking care to have their scenes and slips executed correctly to suit it. I cannot well leave this subject without saying a few words upon light and shade; these are, in fact, parts of the study of perspective, and the correct application of their laws is essential to truth in scenic effects. Studios, if happily situated, do not admit the entrance of direct sunlight, or, by the arrangement of blinds and shutters, it is prevented. These arrangements ought to be capable of producing a variety of effects, and of throwing the light at such angles upon the sitter as the artist may think fit; as the lights and shadows of scenic backgrounds are not produced by project ing angles, but painted in by light and dark colours upon a flat surface, they will not alter according to the angle of the light in the studio. Therefore, before having his back grounds painted, the photographer should experiment in his studio until he finds the most agreeable angle of light under which he can generally operate, and then direct his scene- painter to throw the lights and shadows on his backgrounds. Accordingly, thus having the perspective and light and shade of his scenes and of his figures agreeing according to rule, he may hope to achieve a great success in truth of pictorial effect, provided the camera is placed at the proper point. INSTRUCTIONS FOR POSING. In a letter to the bulletin Helge de la Fhotograpbie, M. Omer Bordeau communicates the method adopted by one of his professional photographic friends for tbe purpose of rendering sitters tractable when under the influence of the camera. The plan followed by this gentleman is to hang up in the studio a large placard of instructions, which may be read and thought over by those who frequent his estab lishment ; and the short and concise nature of these rules, as also the ludicrous final warning held up as a punishment to evil doers, no doubt very materially contribute towards the creation of the cheerful and natural faces of the portraits to be seen among his collection. For this reason we do not
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