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THE PHOTOGRAPHIC NEWS. Vor. XI, No. 448.—April 5,1867. CONTENTS. Cabinet Portraits amid Snow and Ice Scenery 157 A Few Hints on Packing 158 Various Modifications and Applications of Carbon Printing ... 159 Critical Notices 159 Echoes of the Month. By an Old Photographer 159 "Le Secret de la Peinture cn Cire,” with some Hints. By a Practical Man 161 On a Method for Preserving the Sensitive Bath in a Neutral Condition. By M. Demole 161 Leptographic Paper, and How to Make It 162 On the Fixing of Positives. By M. Carey Lea 162 PGE On Setting the Camera for Photographic Reduction. By G. Mathiot «... 163 Double Salts. By Prof. Towler 164 Recent Patents 166 Correspondence :—Specimens—Polished Stones for Rolling- Presses—Troubles of Provincial Photographers—Fading of Prints 166 Talk in the Studio 167 To Correspondents 168 Photographs Registered 168 CABINET PORTRAITS AMID SNOW AND ICE SCENERY. Wb have recently noticed the admirable winter effects ob tained by Mr. Notman, not only in pictorial photographic compositions, but in the backgrounds and accessories of his photographic portraits. A selection of cabinet portraits we received a day or two ago furnishes us with further variety of effect of this kind. We have here figures—ladies and gentlemen—skating in every variety of position and action belonging to this graceful exercise. Some are apparently gently gliding over the ice; others suggest the action of pulling up and arresting extreme velocity; whilst others are apparently flying along at a tremendous pace, poised on one leg, the other being raised ready to descend and give another forcible stroke. A lady, in a charming short-skirted skating costume, just raising one foot, whilst she glides along on the other, is exceedingly graceful. In all these, the snowy back ground and the perfect effect of ice, secured in the studio, are most wonderful. The figures are partially reflected in the ice, the reflections broken, however, by the cracks, or lines, or fissures cut in every direction by the skates in the ice, and by the snow blown about here and there. Other figures are walking in the snow-covered scenes, their feet sinking deep in the snow ; others, wearing huge snow shoes, tread lightly on the surface; others are breasting a pitiless snow storm, which, descending in heavy flakes, seems to half obscure the picture. The variety of winter costume is admirably suited to enhance pictorial effect and add interest to the photo graphs. How far the intermittent character of the frost and snow which distinguishes our own winters would permit interest in the introduction of a similar novelty into this country.is uncertain. We can readily conceive that in a country like Canada, in which, during more than a third of the year, the ground is covered with snow, and stream and river, lake and pond, with ice, the introduction of such scenes into photo graphic portraiture is an element of considerable interest; and the skill with which Mr. Notman has succeeded in pro ducing such effects is only equalled by the excellence of his photography and the general artistic treatment of his sub jects. Much curiosity has been expressed as to the inode in which many of the effects have been produced with so much of nature and so little effect of contrivance. In a letter, which we append, Mr. Notman explains his mode of work ing, and the appliances he has used. And here we find another illustration of an apothegm we never fail, when occasion serves, to press on the attention of our readers; namely, that excellence is duo to the man rather than the method ; that personal skill is of even more value than per fect formula. The best materials and the best processes are undoubtedly of the utmost value in securing good work ; skill, judgment, and taste in applying them are not less important. Thick white fur and masses of salt to produce snow; sheets of zinc and plate glass to produce ice, are, we have no doubt, the very best appliances for the purpose ; but the skill, taste, and judgment with which they are used, give them all their real value. And knowing how the effects are produced, we look with wonder on the pictures, at the wintry sky, and snowy distance mingling with it, and at the variety of foreground effect, produced with such limited means as painted backgrounds and snow and ice, real or artificial. W ithout further prefatory remark, we give Mr. Notman’s communication, which is only too brief:— “ Mr Dear Sir,—It seems natural, during our long Canadian winter, surrounded as we are with snow and ice for nearly six months of the year, that anyone engaged in photography should contrive to introduce into his works some of its characteristics. Therefore it is, I suppose, that I have given this peculiar feature in photography my especial attention ; and as you were pleased, some time ago, to ask mo for the modus operandi for producing the effect obtained in some of my pictures of falling snow, I have now much pleasure in complying with your request, the more particu larly as I have also added another feature to my usual winter effects; viz., that of taking portraits as if in the act of skating. My method of producing this effect I shall also describe ; and that you may have an idea of how far I have been successful, I send you, by same mail, a packet of cabinet portraits for your acceptance and inspection. “ To produce the effect of fallen snow, I have tried many ways, such as carded wool, white furs—that from the Arctic fox, for instance—but latterly salt, which I find by far the best, as you can throw it on and about stones, rocks, &c.; and it so easily takes any desired form—such as a drift. When thrown on to the figure, it adheres to the cloth ; in fact, as a representative of snow, it leaves nothing to be desired. “ To represent falling snow: after the negative is dried and varnished, I take some Chinese white and mix it with water to the consistency that experience alone can dictate as best suited; put it into a phial, introduce one of those perfume blowers, and blow into the air a shower of the liquid Chinese white, and, as it falls, catch as much of it as is desir able on the varnished side of the negative; by judiciously holding the negative, you can so direct it as to give the effect of a slant to the falling snow. “ To represent ice, I use sheet zinc, over which I have polished plate glass. At first I was in hope that zinc of itself would be sufficient, but a short trial convinced me that the zinc required protection from the action of the salt, which I use to represent the snow on the banks at the side. “ I may mention that, having spent time and money in carrying out these inventions to their present state, to secure myself against pecuniary loss I applied for and obtained a patent for the use of the same in Canada.
