Volltext Seite (XML)
246 THE PHOTOGRAPHIC NEWS. [May 21, 1869. Here I set aside my protest, for time presses; therefore, as the term dodges is best understood by the class most interested, I submit the matter to some one more learned than myself in the antiquarian science of verbal derivatives, whilst, for obvious reasons, I continue to apply the non- descriptive term “ dodges ” to the further remarks I have to offer on the subject. The question has often been raised, whether the practice of dodges is consistent with those natural truths which photographers are supposed literally to reproduce ; but I am inclined to think that those who object to any departure from the usually adopted track have not duly considered the more rational side of the matter. I contend, that if photography ranks, or is desired to rank, as a pictorial art, the chief aim of a photographer should be to produce as perfect a picture, artistically as well as technically con sidered, as the resources of his art will admit of. If a clod of earth can be made to represent an object not otherwise provided, yet required, to secure the desired effect, then, I say, by all means secure its services. If to block out, tone down, to add greater breadth of light and shade, by inge niously contrived devices, are the means by which artistic effects can be produced, it can scarcely be denied that recourse to either of these dodges is legitimate. If a scene photographed at “ John o’ Groats’ House ” can be made to combine with another taken at Land’s End. and the com bination picture thus produced expresses the sentiment the artist desires to convey, then, I say, the dodges practised by the photographer to produce a harmonious union are as admissible as the result would be commendable. I un hesitatingly contend that photographic dodges can be rationally considered prohibitory only when clumsily exe cuted. As art is most legitimately applied when art is adroitly hidden, so dodges become ennobled when the means resorted to by the photographer are concealed from the sharpest critical observer. “ Just my opinion 1 ” observes some would-be promoter of a school of secretiveness ; “ I say, dodge who can, but let them keep secret from the outer world the means employed.” Why make a secret of the matter ? Artists make no secret of the assistance they extract from lay figures, dilapidated cradles, rusty suits of armour, sketches taken by nobody knows whom, also from sponges, pumice-stone, hand brushes, and bread crumbs. If to construct a picture is the end aimed at, and a picture in the strictest meaning of the term is pro duced, why be ashamed of the means resorted to ? I am of opinion that the more skilfully a photographer is capable of dodging, the less mechanical does bis work become. He might accept as a general axiom that nature cannot err ; yet will be daily presented to his mind the fact that nature, taken piecemeal, needs intelligent revision. Man’s greatest and grandest mission is to improve nature by means which nature herself provides. This proposition will probably by some be considered blasphemous ; it is, nevertheless, true. This, however, is not the place to enlarge much on so broad a topic; I merely broach the subject because of the proneness of some photo graphic art-critics to shout “ Blasphemy I” whenever the common-sense assertion is made that earth and sky cannot at all times be artistically mated, except dodges are resorted to. Believing in the eternal fitness of things, those pseudo art critics suppose that as nature is truth, so art becomes most harmonious when nature as she presents herself is literally copied. I beg emphatically to differ on this ques tion. Sound is a natural production ; but sound becomes harmony only when the musician avails himself of those natural laws which enable him to regulate the scale of vibrations, and so produce from his instrument soothing sounds which delight and gratify the ear. Again : clouds arc natural objects, always pleasing, ever beautiful; yet, were it possible to include the clouded sky in every photo graphic landscape produced, it would often be found that cloud-forms are seldom in keeping with the scenes o’er which they hover, if regarded from a pictorial point of view. This statement might prove startling to some ; but I would have such consider that the case is not an isolated one: we are surrounded by similar examples, which prove that nature provides, but man must guide ; and this power of guidance has set up the great pyramid of invention, of which civilization forms the apex. Inventions of every kind are dodges directed to a desired end. Nature supplies the raw material, but the rude matter needs the intelligence of man to mould it for purposes of utility and beauty. Nature’s laws are full of harmony. She does not supply one rule to the engineer, and another to the artist. Her lessons teach one and the same truth: “ Shape your labours in such a way that your productions may har monize with my laws and your intelligence.” The differ ences between the productions of the engineer and artist are simply these: to the first can be applied palpable tests, whilst the latter can only be judged of by the effect they produce on the mysterious sympathies which involun tarily are made to vibrate within us. The moral of these latter remarks is obvious when applied to photography: if nature is not harmony when she is presented to the camera, photographers may make her so. The means they must em ploy are invention and dodging. Depend upon it, the brain of a skilled artist teems with dodges : and brains only can produce a picture by any process. When Turner once deterted an artist-in-embryo taking a surreptitious peep into his paint-box. the great eccentric gruffly exclaimed, " "T'isn't there I” In like manner, I would have it shouted into the ears of those who are ever on the search after the formule and means employed by successful photographers, "It isn’t there 1” Nature will consent to be guided by such only as are capable of taking the helm. Then, I say, dodge on when perfection without its aid stands aloof ; dodge in the production of the negative ; take advantage of the wide scope for dodging given by the pro cess of silver printing ; and to those who do not know the way, I shall endeavour to instruct them. In concluding this my introductory chapter, I would just observe, that in that portion of my design which includes “ failures ” and “ remedies,” I am desirous of obtaining re lief from the many weary hours of advice-giving by letter to those who meet with similar failures ; and I therefore request, as a favour, of any of my readers who may desire information of a special kind, to forward full particulars, that I may embody the desired information in future articles. My next will treat of Salomon prints, and how to produce them. ON RETOUCHING THE NEGATIVE. BY JOHANNES GRASSHOFF.* Many complaints which I receive bearing upon the subject of retouching negatives are based upon the unequal manner in which the varnished surface receives the graphite rubbed from the pencil ; sometimes a large quantity of the black- lead adheres to the negative during the operation, and some times but a slight trace of the material attaches itself. Much depends upon the degree of hardness of the pencil selected. I always employ the best (manufactured by Faber), of Siberian graphite, using four degrees of hardness, from Nos. 1 to 4, according as the varnish film is soft, or hard and dry. Thus, immediately after varnishing, No 1 pencil is generally the most suitable ; after four or six hours, No. 2. If 8 day has elapsed, I generally use No. 3 ; but, under cer tain circumstances, No. 4. My experiments, conducted with a view of rendering the varnish more ready to take up the blacklead, have guided me to a peculiar- method of manipulating which 1 will here describe. I obtain some ossa sepia (which may be pur chased in sticks, at a very reasonable cost, at any druggist’s), and scrape off a small quantity by means of the finger nail, sprinkling the same over such portion of the negative (I am * Photof/raphische Miltheilungen.