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The photographic news
- Bandzählung
- 14.1870
- Erscheinungsdatum
- 1870
- 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-id1780948042-187000001
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- http://digital.slub-dresden.de/id1780948042-18700000
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- oai:de:slub-dresden:db:id-1780948042-18700000
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- 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. 593, January 14, 1870
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
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Zeitschrift
The photographic news
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Band
Band 14.1870
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- Titelblatt Titelblatt -
- Sonstiges Preface -
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- Register Index 619
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Band
Band 14.1870
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- Titel
- The photographic news
- Autor
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likeness because it presents faces in the aspect in which they are most commonly seen by friends, lit up by the light from the upper part of a window in an ordinary sitting room. Mr. Gillo happily points out the juste milieu when he sug gests that the light must come sufficiently from the side to give vigour as it strikes across the features, and be sufficiently in advance to avoid harshness. A high side light, the direction of which, by curtains, can be varied to suit different classes of faces, will give, we believe, the most satisfactory results, and with the least trouble, and the shortest exposure, as the whole of such a light reaching the model is doing pictorial work. We feel it necessary to protest against misleading doc trines on the subject of lighting the studio, because they sometimes lead to costly as well as fatal errors, as Mr. Wyles, in his article on the subject in our YEAR-BooK, just issued, well points out. In many cases a young photographer’s chief capital is involved in the building of his studio, and if this be done on radically erroneous principles, hope, time, and money are sadly wasted. Whilst referring to the subject of lighting, there is another point to which we may refer, upon which some confusion of ideas seems occasionally to exist. Some photo graphers are in the habit of speaking of lofty or low built studios as materially affecting lighting, and referring to placing the model near the window or far from it as securing upon it a brilliant or a soft light. The fact to which they refer is clear enough, but the cause of the fact appears to be frequently mistaken. The window is referred to as the source of light, and the brilliancy of the light from that source is regarded as diminishing in the ratio of the square of the distance from the source. Now it should be remembered that the window is not the source of light. The source of the light with which the photographer works is practically the mass of diffused or reflected light from the sky and clouds; and the removing of the model a few feet nearer to or further from the source of light would not make a perceptible difference in the lighting. The reason why the model is more brilliantly lighted by being brought nearer the window or aperture through which light is admitted, is simply because the nearer the aperture the greater the amount of light falling on it, the expanse of sky from which light reaches it being so much the greater; and the further it is removed from the window, the more the area of sky from which light can reach it is contrasted. In short, by removing the model further away from the window the angular aperture is contracted, the fewer the number of rays reaching the model, and, consequently, the less bril liant the illumination. The same effect precisely would be obtained if, instead of placing the sitter further away from the window, the aperture or size of the window were reduced. It is not because of any absorption of light in any appreci able degree, not because it has become diminished in pro portion as it receded from its source, that an object far from the window is less vividly illuminated than one close to the window ; not because the rays have been absorbed or diminished in power, but simply because the source of light has been diminished in area, and, consequently, the number of rays reaching the model diminished in number. Gf course, in these remarks, we are dealing with the simple idea of a room with one aperture or window, either at top or side, to admit light; in proportion as the apertures are multiplied the calculation would become complicated, but the principle would remain the same. MINOR APPLICATIONS OF PHOTOGRAPHY. At the meeting of the Photographic Society, on Tuesday evening, Mr. Baden Pritchard called the attention of members to some minor applications of photography, as affording valuable opportunity for professional enterprize, which are worthy of attention, especially as the suggestions were accompanied by capital examples of the work proposed. We will allow Mr. Pritchard to speak for himself, in the following summary of his remarks. # He was of opinion, he said, that sufficient attention was not given to this subject; although it was difficult, perhaps, to point to applications sufficiently important to warrant special attention, still there existed many ways in which photography might be made useful, especially in con nection with fancy articles. The application to which he desired more especially to call attention on the present occasion was indeed a trifling one, but, nevertheless, perhaps worthy of a few words ; it was that of affixing small medal lion portraits to note paper. It has lately become the fashion to have one’s monogram or address neatly designed as a heading to note paper, a practice now almost universally adopted, and for this little design of use and ornament, considerable prices are not unfrequently paid. If, besides the monogram, a little oval design were lithographed in one or more tints upon the letter, and a small portrait of the writer placed thereon, a pleasing and appropriate heading would thus be produced, which could hardly fail to become popular, provided the cost were not exorbitant. With regard to the expense of these portraits, Mr. Pritchard was of opinion that they might be printed at a cost of five shillings per thousand, not taking into consideration the question of labour ad profit, or original cost of the negative. Any one possessed of a moveable back to the camera, similar to the diamond camera arrangement, could take five portraits in a space of four inches by three, and these, printed on any waste scraps of paper, without masking, gummed at the back, and stamped out, are then mounted upon the paper, which has previously been lithographed. Photographers would, doubtless, be able to sell five quires of paper of this descrip tion at the prices usually paid for a dozen cartes-de-visite, viz., a guinea, or even half a guinea. Note paper thus adorned endows a letter with a certain amount of individu ality, as in reading the lines one always has the writer before one’s eyes. The examples of the note paper portraits shown were very good. Besides these, he described an application of photography to ornamenting candles, soap, &c., and also exhibited some ball engagement cards ornamented with photographs of an appropriate character, and remarked that these were only examples of a great variety of minor applica tions of photography, which were, he thought, worthy of the attention of many photographers. ECHOES OF THE MONTH. BY AN OLD PHOTOGRAPHEE. Ever since the publication, by Charles Dickens, of certain passages in the history of the late Mr. Gradgrind, it has been the custom of certain weak-minded members of the community to sneer at the men who “ want facts,” and the expression of such a desire is regarded as a confession of a mean, narrow, hard nature. But one is constantly reminded, nevertheless, of how much mankind at large love facts, and I was especially struck with the illustration of this when I noticed the interest with which the members of the Photographic Society watched the demonstration by Dr. Van Monckhoven of the efficiency of his enlarging apparatus at the December meeting. The exhibition of the instruments, and the practical illustration of what could be effected, had more interest than the reading of a score of theoretical papers. It is true I have heard some muttered grumblings since, and the question asked, after all, what was the instrument but a magic lantern, and what was the light but that patented by Carlevaris a few years ago ? To which ques tions, if I were called upon to respond, I should be disposed to reply, that all enlarging cameras must partake of the character of the magic lantern, and that it was a boon, surely, to have an opportunity of witnessing how efficiently a magic lantern, especially one specially arranged for the purpose,
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