The photographic news

• Bandzählung: 6.1862
• Erscheinungsdatum: 1862
• Sprache: Englisch
• Signatur: F 135
• Vorlage: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: SLUB Dresden
• Rechtehinweis: Public Domain Mark 1.0
• URN: urn:nbn:de:bsz:14-db-id1780948042-186200003
• PURL: http://digital.slub-dresden.de/id1780948042-18620000
• OAI: oai:de:slub-dresden:db:id-1780948042-18620000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Bemerkung: Seite 1-72 fehlen in der Vorlage. Vorlagebedingter Textverlust.
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

Ma [March 28,1862. THE PHOTOGRAPHIC NEWS. 146 d thefro“(vi ise p * Continued from page 135. Cohyenie 0r some glance, we may remark again, that there is no side light» all, and that in the diagram the black lines represent .entin absence of glass, the double thin lines represent stippled glass, and the simple thin line clear glass. The length O' the room from A to D is twenty-two feet; the height at 4 twelve feet, and at d seven feet. Prom a to b is three feet, which is quite opaque; from b to d is all glass; but two thirds of this, from b to c, are rendered semi-opaque bj stippling with white lead and turpentine. The end D d » also rendered semi-opaque in the same manner. The only direct light which obtains admission is through about seven or eight feet of clear glass, c to d. As the aspect is direc south this will generally be very powerful. The background occupying the end of the room A a, the sitter being placed underneath b, is illuminated with a soft diffused light ove 1 head, and by a direct light at a considerable angle passing through the clear glass at c d. It will readily be seen th* under such circumstances the direct light is nearly equiv lent to a side light, and that the lower the end of the room and more slanting the roof, the more the light will partas of this character. Although we cannot quite go so far as Mr. Fitch, and sal that with the choice of position we should build a room 01 this character, ignoring side light proper, there can be doubt about its answering the purpose exceedingly well and we may add, that it is very nearly in principle the for 1 * of the glass room used by one of our first, if not the fins metropolitan professional portraitist. Before Smwas, A ", D In order that the amount of light may be understood at a Every One cor purpose. . ) Dry plates of necessity undergo much handling 10 • course of preparation, and, notwithstanding the greatest the edges are liable to become contaminated with orzo” matter or other impurities, either from the fingers, or ins , their own drainings upon the filtering paper while drEd or from other causes. It is prudent, therefore, to let t-- z By this means the plate is held perfectly insulated from Dy wood, both in front and at the sides, and the back also 100 in contact with the metal spring which secures it in th® per position. Electro-plated copper wire is suitable for of the edges these s of the precau dry pl, the ge a smal large ) quanti The very it door 1 any f satisfa should light f raised. is bein which those v the axi Main s: and fin lie par; the firs the bes mately sary co: I do Proper! 1 have the inc< by a ve and lie Still, fr of sprin fibratic tends t *oid t slide, at height glad if Inheces Ntand ot Mind, a tain deg Vety det haying mannr EVer th In so OPened "lhis im OPening long think t cient tr nthep Camera GLASS ROOMS WITH TOP LIGHT. Every photographer is familiar with the heavy opaque shadows under the eye-brows, nose, lips, and chin, which are produced when the sitter is illuminated with vertical light only. Yet it not unfrequently happens, especially in large towns, that a skylight is the only available means of lighting the studio, which is often so blocked in on every hand that a side light is impossible. Such persons will read with considerable interest the report of the last meeting of the South London Photographic Society, at which Mr. Fitch, an amateur of considerable ability, exhibited a series of very exquisite portraits produced in a room lighted wholly from the top, without any side light whatever. The pictures were free from any trace of the evils usually attendant upon vertical lighting : there were no black, heavy shadows under projecting features, no dirty-looking neck, nor any prema turely grey hair; all was delicate, soft, and natural. On further inquiry, it was found, however, that whilst the light was only admitted through the roof, no vertical light was per mitted to fall on the sitter. The top light was cut off, the only direct light reaching the model falling at considerable angle, and producing a most satisfactory effect. In order to make the matter clearer than the report of the meeting may possibly render it, we subjoin a diagram of the room, as described by Mr. Fitch. - Sn penci st’c . Eecordin bis diar Vc.1 v. . • REMARKS UPON SOME OF THE APPARATUS EMPLOYED IN PHOTOGRAPHY* BY F. B. WINDOW. Field Cameras.—The plate-slide (continued).—As d plates do not run the same risk of fouling themself by contact with wood as wet plates, which are coverd with liquid nitrate of silver, some of the precautions reco®‘ mended for the interior of the wet slide may be dispens” with. The interior of the cell should be thoroughly w5 varnished with a good dead black to exclude moisture, * also to keep the vapours of the essential oils in the w from the plate. I find it is advantageous to prevent the pl from actually touching the cell, because in doing so it is6f to grind off little particles of the varnish, which, flyib: about the interior, settle upon the sensitive surface, and ca”, spots and pinholes. For this purpose, the inside corneis 0 the slide should be furnished with wires, the same as in t wet slide, and two metal pins should be driven into each si , at the edge of the cell for the glass to rest against (fig. 1 side any picture and a carefully drawn duplicate; the slight differences which must inevitably occur would give rise to a similarly confused effect of relief and intaglio. The action of the figure is such as would have been favourable for the production of marked stereoscopic effect; but the relief under the most favourable conditions is far inferior to that of some very simple geometrical diagrams, with which, as being drawn by hand and affording legitimate means of comparison, we have contrasted them. In truth the mono- scopic relief of each single picture appears little, if any, inferior to the effect of both when combined in the stereoscope. The pictures are in most respect facsimiles; but a closer inspection at once leads us to the conviction that one is an artist’s drawing and the other a clever copy by a somewhat mechanical hand. In the drawing the first there is free dom, ease, expression, and general character, which indicate the hand of the artist; whilst in the other there is faithful copying, but a loss of character and expression; the dimen sions of the copy are, moreover, slightly greater every way than those of the original. We confine our observations strictly to the effect of the pictures before us, and do not enter into other evidence against their stereoscopic character, such as that afforded by the relation to each other of the originals, which, it is stated, require the convergence of the optic axes in a manner which, to nine persons out of ten, is impossible. We hope shortly to lay before our readers some extracts bearing, on the sub ject, from Dr. Carpenter’s recent lecture on the stereoscope at the London Institution.