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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
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- 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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- Wahlperiode
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- Bandzählung
- No. 537, December 18, 1868
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
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- Wahlperiode
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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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602 THE PHOTOGRAPHIC NEWS. [December 18, 1868. background to the figure, and are most effective in giving it relief. A perfect sensation of light and air pervades the whole picture, and the lighting of the figure is in admir able keeping. The exquisite variety, gradation, and balance of tones complete an admirable pictorial result. The technical management of the printing from two negatives is a marvel of success. Whilst we recommend the careful examination and analysis of the composition of this picture as affording an excellent lesson to the student, we especially direct his attention to the charming expression of thought involved. Balance of lines and tones, gradation, harmony, and other pictorial qualities are necessary elements in a picture ; but these should be subsidiary to thought and its perfect ex pression. Whilst a group of persons were eagerly examin ing the copy hung in the recent exhibition, one remarked: “ What a pity that the larkself could not be introduced into the picture!” “ But it is there,” rejoined another discriminating observer. “ Where ?” was the response ; “ I don’t see it.” “ Probably not; but the child does, and I can see the expression in her face which proves it.” The criticism embodied here was excellent and true, and of a character we commend to the thoughtful art student. Other presentation prints to the members of the society, from Mr. Claudet, Mr. England, and Mr. Mayall, will follow in due course, and will each, doubtless, illustrate different phases of excellence and photographic interest. We are glad to notice that the distribution of presentation prints seems to have become a feature in societies as uni versal as it is pleasant; and it is worth note that Mr. Robinson—or, more correctly, Robinson and Cherrill—■ have supplied presentation prints of different kinds to no less than four societies this year. PHOTOGRAPHY IN THE THEATRE. Amongst the curiously-varied applications of photography, its aid to the scene-painter is not one of the least interest ing. At the annual dinner of the South London on Satur day evening last, Mr. Jabez Hughes recalled an incident illustrating strikingly the value of photography in decora tive art, a form of art in which, more than in any other, conventional modes of treatment take precedence of the literal truth of nature. .Upwards of twenty years ago, Mr. Hughes being at the time engaged with Mr. Mayall,.Mr. Telbin, the well-known scene-painter, called at the studio in the Strand, and wished to have a series of Daguerreo types taken of a quantity of white satin, fresh from the draper’s shop, the widths sewn together, and suffered to fall into its own natural folds, without arrangement or design on the part of the artist. To secure a record of the design in anything like useful proportions it was, of course, necessary to take a portion at a time of the satin, the com plete effect being comprised in a series of five by four plates. The purpose of Mr. Telbin was to paint a drop scene for Drury Lane Theatre, and his aim was to produce the most perfect literal transcript of a beautiful curtain of white satin, with all its little sharp accident folds and creases, as well as its general masses. Every one who has visited Drury Lane Theatre is familiar with the scene, and knows how complete is the illusion. So perfect and satisfactory is the result, that whatever other changes have been made in the decoration and scenery of the house, this remains through every management in constant use, and continues until now a perfect and most illusive present ment of a white satin curtain. At the Haymarket, Mr. O’Connor, the accomplished scenic artist of that theatre, has used photography in another form. When scenes of an architectural character are required, representing actual places, he has found useful a transparent photograph of the subject, the image of which is projected by means of a magic lantern on the canvas, and this image serves as a perfect guide in securing accurate proportion and perspective correctness. In both these applications photography does yeoinan’s service to the painter. NEW STYLE OF MOUNT FOR PHOTOGRAPHS. Mb. Fox has recently brought under our attention a new style of tinted mount for photographs which, under some circumstances, is very effective. For a long time the mount with an Indian paper tint, or a delicate grey, in immediate contact with the picture, has been a favourite with photographers. It had the especial advantage of giving value to the whites of the photograph, which, espe cially in the days of the old toning and fixing baths, if in contact with a pure white mount, often appeared a little degraded. Perhaps for a fine portrait print, printed fully out, nothing is more effective than the kind of mount we have just described. But there are circumstances in which such a mount ceases to be suitable or effective, and to meet these cases Mr. Fox’s new style of mount is designed. The new mount, instead of having a tint for immediate contact with the picture, surrounded by a broad white margin, is printed with a broad tint, which constitutes the margin, with a space of plain white in the centre, leaving a margin of white to come into contact with the picture itself. This effect with many pictures is very pleasing. For instance, in landscapes where the sky has printed through to a delicate tint, the print, if mounted on an India tint, would appear to have a white sky; mounted, how ever, in contact with the white portion of a board having a tint beyond, the atmospheric tint of the sky receives its full value, and the picture becomes effective. The same is true of vignetted portraits in which the background softens into a grey tint instead of into white, and in a number of other cases the new style will produce a more pleasing result than any yet devised. The new style exists in various tints, and having centres of various shapes and sizes to suit all pictures. WASHING SENSITIVE PLATES. At the last meeting of the South London Society an inter esting discussion arose as to the causes of pinholes in dry plates. The subject was not, we think, by any means ex hausted, and we do not intend to renew it here ; but we wish to call especial attention to one important observation made by Mr. Sebastian Davis, who opened the question. Dry-plate photographers have often been warned of the dangers of washing a plate fresh from the nitrate bath with any kind of “ common water,” as the chlorides, car bonates, &c., in such water would precipitate on the plate insoluble silver salts, which, becoming firmly attached to the spongy surface of the film, would result in spots, stains, &c. It has become, therefore, a tolerably generally recog nized canon of dry-plate photography, that the first washing of the plate after it leaves the nitrate bath should be effected with distilled water. But Mr. Davis pointed out another danger, obvious enough when once indicated, but which has, singularly enough, been generally over looked. He showed that the use of distilled water was not a certain means of avoiding a precipitate of an insoluble silver salt. The nitrate bath, containng a certain amount of iodide of silver in solution, would precipitate a portion of this if diluted, and as the first application of distilled water in washing is a practical dilution of the free nitrate on the plate, a precipitate of iodide of silver was thrown down, and, unless especial care were used, this would become attached to the film and prove a source of pinholes. He suggested, therefore, that the plate should be kept in I motion, and the water " so applied as to check the risk of a I precipitate settling on the film. To aid this we suggest
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