Suche löschen...
The photographic news
- Bandzählung
- 35.1891
- Erscheinungsdatum
- 1891
- Sprache
- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- SLUB Dresden
- Lizenz-/Rechtehinweis
- Public Domain Mark 1.0
- URN
- urn:nbn:de:bsz:14-db-id1780948042-189100009
- PURL
- http://digital.slub-dresden.de/id1780948042-18910000
- OAI
- oai:de:slub-dresden:db:id-1780948042-18910000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
- Strukturtyp
- Band
- Parlamentsperiode
- -
- Wahlperiode
- -
- Bandzählung
- No. 1688, January 9, 1891
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
- -
-
Zeitschrift
The photographic news
-
Band
Band 35.1891
-
- Ausgabe Ausgabe 1
- Ausgabe Ausgabe 17
- Ausgabe Ausgabe 37
- Ausgabe Ausgabe 57
- Ausgabe Ausgabe 77
- Ausgabe Ausgabe 97
- Ausgabe Ausgabe 117
- Ausgabe Ausgabe 137
- Ausgabe Ausgabe 157
- Ausgabe Ausgabe 177
- Ausgabe Ausgabe 197
- Ausgabe Ausgabe 217
- Ausgabe Ausgabe 237
- Ausgabe Ausgabe 257
- Ausgabe Ausgabe 277
- Ausgabe Ausgabe -
- Ausgabe Ausgabe 313
- Ausgabe Ausgabe 329
- Ausgabe Ausgabe 345
- Ausgabe Ausgabe 361
- Ausgabe Ausgabe 377
- Ausgabe Ausgabe 393
- Ausgabe Ausgabe 409
- Ausgabe Ausgabe 425
- Ausgabe Ausgabe 441
- Ausgabe Ausgabe 457
- Ausgabe Ausgabe 473
- Ausgabe Ausgabe 489
- Ausgabe Ausgabe 505
- Ausgabe Ausgabe 521
- Ausgabe Ausgabe 537
- Ausgabe Ausgabe 553
- Ausgabe Ausgabe 569
- Ausgabe Ausgabe 585
- Ausgabe Ausgabe 601
- Ausgabe Ausgabe 617
- Ausgabe Ausgabe 633
- Ausgabe Ausgabe 649
- Ausgabe Ausgabe 665
- Ausgabe Ausgabe 681
- Ausgabe Ausgabe 697
- Ausgabe Ausgabe 713
- Ausgabe Ausgabe 729
- Ausgabe Ausgabe 745
- Ausgabe Ausgabe 761
- Ausgabe Ausgabe 777
- Ausgabe Ausgabe 793
- Ausgabe Ausgabe 809
- Ausgabe Ausgabe 825
- Ausgabe Ausgabe 841
- Ausgabe Ausgabe 857
- Ausgabe Ausgabe 873
-
Band
Band 35.1891
-
- Titel
- The photographic news
- Autor
- Links
- Downloads
- Einzelseite als Bild herunterladen (JPG)
-
Volltext Seite (XML)
22 and yet be truly photographic. It only requires to mix a few platinum prints with the ordinary pink albumenized paper horrors to show how refined the former are, and how utterly vulgar the latter. Why is this pink paper so universally used for business purposes, and so seldom for exhibition ? In the last Pall Mall Exhibition the hangers had, in mercy, to remove the pink prints as far as possible from the platinums. There was reason in the light greyish blue tint first applied to albumenised paper; it neutralised the tendency to a sickly yellow to which this paper was rather prone ; but it succumbed to the law of decadence which seems to insist that all good things shall degenerate, either by adulteration, or a pandering to vulgar taste. And so the pearly beauty of the first tinted papers has degenerated down to pink and mauve, which colours are gradually becoming stronger, and are the ugliest in the spectrum—no, not in the spectrum (all colours are pure there), but that ever came out of an aniline dye manu factory. INTERIOR PHOTOGRAPHY. BY LIEUTENANT 0. E. GLADSTONE, R.N. I trust that I may not be thought too egotistical in the remarks I propose to make to-night on the subject of interior photography, but it is difficult to know what to say on such a subject beyond giving the results of one’s own experience, and if a good deal of practice qualifies one to speak on any subject, perhaps I may claim to be so qualified, as I have worked at most of the English cathedrals, spending several days at each, besides a good many foreign ones, and many churches and other interiors. Whether interior photography is an agreeable pursuit or not is mainly a question, I imagine, firstly, of the tempera ment of the individual, and secondly, of whether he be acquainted with architecture. Some photographers find their greatest happiness in introducing human figures into their pictures, but, for my own part, if there is one thing more than another I hate whilst photographing, it is my fellow man and brother. I greatly admire these workers for the trouble and pains they take in thinking out and arranging their compositions —one must admire good men struggling with adversity— but I have no desire to imitate them, and I cannot help thinking that their results might be more agreeable, and possibly more artistic, if they substituted for the human form some accomplished lay figures. To one with these possibly abnormal ideas interior photography has a natural charm. I know that the human animal can cause me no inconvenience. He may walk where he will, plant himself in front of the camera, or do just what he pleases, and, given a good long expo sure, the plate remains profoundly indifferent to his presence. On the other hand, I do not suppose that one who was not interested in architectural matters would find much pleasure in making a practice of interior photography. The exposures are necessarily long in most cases, and if one has nothing to do in the meantime, the inclination is irresistible to cut the exposure short, with the almost certain result of spoiling the negative. If, however, one is interested in architecture—interested in trying to solve the problems that meet one at every turn in an old building—then the time passes all too quickly, and there is no desire to reduce the exposure, the negative benefiting greatly thereby, for, as a general rule, it maybe taken that it is a matter of difficulty to over-expose an interior, and in the rare cases where it does occur the error may usually be corrected in development, whereas with under-exposure, no subsequent operations can remedy the defect. I say that the exposures are generally long, and perhaps I ought to preface my remarks by saying that they refer to work done with a 12 by 10 camera, and therefore with lenses of some focal length. With small cameras, and lenses of shorter focal length, the exposures become con siderably shorter. A month or two ago there appeared in the photographic journals a paper by Mr. Debenham, wherein he showed that the definition of out-of-focus planes did not depend on the relation between the diameter of the stop and the focal length of the lens, t.e., on the intensity ratio, but that it depended on the absolute diameter of the stop itself, and on that alone. From this it follows that if we have two lenses, one double the focal length of the other, and if we find that, in order to obtain the necessary amount of definition with the short focus lens we have to use a stop of a quarter of an inch in diameter, then we shall also have to use a stop of a quarter of an inch diameter with the long-focus lens in order to obtain the same amount of definition, the result being that the exposure with the long-focus lens will be four times that of the other. Another reason for long exposure is that it is nearly always necessary to use the rising front and swing back, the effect of the latter being to throw the top and bottom of the picture completely out of focus. Their use cannot be avoided, as otherwise the picture is spoilt by too much foreground, and their effect on the definition of the picture can only be neutralised by the use of a small stop. I very soon found out that the amount of rising front and swing back, as supplied by the maker, were quite insufficient for interior work. For tunately, it was an easy matter to alter the fittings so as to largely increase the amount of each obtainable, and occasions not unfrequently arise when it is necessary to use this increased amount to its full extent. It is necessary, when using the rising front with W. A. lenses, to make sure that the bottom corners of the picture are not cut off, and as it is a difficult matter in many cases to see whether these lower corners are cut off or not, owing to the darkness of the image on the ground glass, it is advisable to try beforehand and see how much the rising front can be raised with safety with different lenses. By pointing the camera to the sky, the ground glass is well illuminated, and on raising the front it can be seen in a moment when the corners begin to get dark ; the position of the front should then be noted. Providence has fortunately arranged matters so that the more one tilts the camera, the more one can raise the front, so that in extreme cases it will be found, with the great majority of cameras, that the rising front can be used to its full extent without cutting off the corners. As regards the actual exposures that are necessary for interior work, I do not propose to say anything; the variations in exposure being so enormous that it is simply useless attempting to lay down any rules on the subject. I have here two prints which happen to be the longest and shortest exposures I ever gave for interiors. The actual exposure for the long one was four hours, but reducing both exposures, for the purposes of comparison, to what would have been given if an intensity ratio of//9 had been used, the exposures then become thirty minutes
- Aktuelle Seite (TXT)
- METS Datei (XML)
- IIIF Manifest (JSON)