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The photographic news
- Bandzählung
- 7.1863
- Erscheinungsdatum
- 1863
- 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-id1780948042-186300004
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- http://digital.slub-dresden.de/id1780948042-18630000
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- oai:de:slub-dresden:db:id-1780948042-18630000
- Sammlungen
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- 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. 277, December 24, 1863
- 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 7.1863
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- Titelblatt Titelblatt -
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- Register Index 619
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Band
Band 7.1863
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- Titel
- The photographic news
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616 THE PHOTOGRAPHIC NEWS. [December 24,1863. the summer tempest has passed, and now the sun shines out again upon the leaves and the grass, wet and glistening. More changes follow over the same landscape. A summer sunset, a mellow harvest-moon, paled by the sudden blaze of distant hayricks. A bright December day, dying in the gloom of a cold December twilight, the waters freezing as we look ; a snow storm shrouding the dead ground; early spring again, and cheerful sunshine and budding trees. So with other scenes. The artist, defying—or, perhaps, knowing nothing of academic rules of art—constantly pre sented to our wondering eyes the most perfect imitations of natural effects. All “cosmoramic” attempts which have followed those we speak of are mean, bungling, and coarse by comparison. The great mass of spectators admired un questioning, and freely indulged their common love of wonder. Artists even would snatch a fearful joy, and ease their consciences afterwards by making severe remarks on trickery and realism, and the falseness of combinations. Meanwhile, the man went on “combining,” and crowds were still delighted. But he was not quite satisfied himself with the results of his toil; such truths as he had discovered in the course of his researches in chemistry and optics had given him a new idea. These transitory aspects of nature, these constant changes which give beauty to commonplace, and which, taken away from beauty, leave it cold and grim— was it not possible to arrest them, to collect the rays of their nfleeted light in a camera, and fix the image on a tablet? He told his wife the awful thought, and she turned pale. It is an authentic fact, that one night, after going with her husband to hear a scientific lecture, she contrived an inter view with the lecturer, drew him apart, and with painful agitation implored him to tell her whether the fancy her husband had taken into his brain was the fancy of a maniac! The professor smiled, and consoled her by saying that her husband’s visionary idea might one day be found practicable enough. This man, then, who dreamt the poet's dream of retaining beautiful shadows ; this madman, as his anxious wife, rea soning with the world’s reason, deemed him—this no-artist, who so loved nature, was named Daguerre. His dream was the Daguerreotype. That your philosophy, and especially the practical kind, falls a little short in its calculation of the things that are in heaven and earth, an obscure dramatic poet has ventured to assert. It is a pleasant, certainly not a strange, coincidence, that he who noticed that little failure of philosophy should have attached an almost substantial value to shadows. In one of his plays—“ A Midsummer Night’s Dream,” it is called—the word occurs an extraordinary number of times, and always accompanies some graceful plea for fancy or imagination. This play has a quaint epilogue, spoken by a fairy, and beginning with the language, “ If we shadows have offended.” It is a most charming piece of supplication. The noble and dignified good nature of one of the characters in this said play—a mortal and a duke—puts the same thing in a more human way. Another of the dramatis personce— a lady—is very hard on a certain “ tedious brief comedy,” setting forth the loves and sorrows of Pyramus and Thisbe, with their sad ending; and this kind-hearted potentate meets her ridicule with a reply which ought to be written over the proscenium of every theatre. “ The best in this kind,” says he, “ are but shadows, and the worst are no worse if imagination amend them.” The finest part of the matter is that this Duke Theseus is an eminently practical man in his way ; that is, he is a man of decisive action ; and he has no transcendental notions that we hear of. He belongs to the governing class ; he hunts, enjoys himself, gets married, all in a splendid fashion, and with an absence of untoward circumstance which is quite prosaic, when the troubles and vicissitudes of the other characters in the play are taken into consideration. The author of that play himself—one William Shaks- peare—was not a bad instance of the fusion of Ideality and business. Amid a great deal that is not at all certain in his biography, there is at least one thing that is. He made a will. Further, it is quite plain that he really had something to leave out of earnings which, considering the nature of his work, we may regard as the tangible results of imagination —the substance pertaining to the shadow. It may be worth while to recollect such things whenever we pass that most common of street objects, a photographer’s case of specimens. From a shilling portrait on glass, “ in cluding frame,” to the most perfect and artistically beautiful miniature by Dickinson or Lock, the present writer may truly say that he can never look at a photograph without its calling to his mind the material uses of imagination, and the birth of a new art in the brain of Daguerre. • LIGHT. In analyzing a ray of light, if the spectrum be divided into 3G0 parts, the red will occupy 45 parts ; orange, 27 ; yellow, 48 ; green, 60; blue, 60; indigo, 40 ; violet, 80. Light travels at the rate of 192,500 miles in a second of time, according to Herschel. In the prismatic spectrum, violet rays indicate heat as 1, green as 4, yellow as 8, and red as 16. Beyond the red no peculiar action exists. The colours of bodies depend upon the size of their atoms, and the chemical character of the local atmospheres of their atoms and interstices. Black has small atoms, and absorbs light; white large and reflects it. Beds are of oxygen character, according to Ellis; greens, nitrogen ; and violet, hydrogen. Their minute parts decompose incident lights, absorb some, and reflect others; an oxygen body combining with hydrogen, and reflecting red; and the contrary with others; thus a hydrogen atmosphere absorbs red, &c., and reflects blue and indigo, &c; and a nitrogen absorbs red and violet, and reflects green or white, orange or blue. The complementary colours are—for black, white ; white, black ; red, blue green ; orange, blue ; yellow, indigo ; green, violet red ; blue, orange red ; indigo, orange yellow ; violet, bluish green. When the shadows of the same object projected on a wall by two lights are equally dark, the lights themselves are equally intense; but if not, the darkest shadows will be protected by the Interruption of the brighest of the lights; and if this brightest light be then removed further from the wall, till both shadows become equally dark, and the distances of the lights from the wall be measured in that situation, the intensity of each will be in proportion to the square of its distance. For example, if two lights give shadows equally black or dark, when their distances from the wall are respectiveiy five and seven feet, the intensity or quantity of light emitted from them will be respectively as 25 (or 5 + 5) and 49 (or 7x7). Bodies which refract most reflect most, or are more splendid. The local atmosphere which increases one increases the other. Reflection is in intensity as difference of refractive power in the media. The full moon produces no heat. The optic nerve enters the eye 'll of an inch from the axis of the eye, on the nasal side; the axis is '91. Angle of vision taken in by the fixed eye, 110 degrees. Impressions on the eye are permanently continous which are repeated 7 times in a second. When the sea is a blue colour, it is deep water; and when green, shallow. The film of a soap bubble about to burst is only about three- fourths of the millionth of an inch in thickness.—Scientific American. Faded Prints.—The action of bi-chloride of mercury in restoring faded prints will be discussed at the next meeting of the North London Society. Mr. Godbold will read a paper on the subject.
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