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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
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- Public Domain Mark 1.0
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- urn:nbn:de:bsz:14-db-id1780948042-189100009
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- http://digital.slub-dresden.de/id1780948042-18910000
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- oai:de:slub-dresden:db:id-1780948042-18910000
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- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1713, July 3, 1891
- Digitalisat
- SLUB Dresden
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Zeitschrift
The photographic news
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Band 35.1891
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Band 35.1891
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- The photographic news
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476 A NEW METHOD OF POSITIVE PRINTING. BY DR. ALPHANDERY. If the amateur photographer, or the professional himself, has much trouble in attaining perfection in portraiture, it is because the work of the sun generally requires the co-operation of an able artist. Wrinkles on the face, although they may hardly exist, and cannot be detected by the unaided eye, are found on the photographic print deeply engraved, and far more prominent than in nature. The various other blemishes on the skin which it is also difficult to discover, are brought out by the photographer with a kind of malignity, and, as we all know, it requires the adroit hand of the retoucher to do away with markings on the negative which give such unflattering results. Both amateurs and professionals have tried to correct their negatives by mechanical means, and oftentimes they have given their imagination a free rein. One plan, for instance, which was long ago proposed, was to place before the lens a ground or coloured glass, and to give a short preliminary exposure before taking the photograph. But the general softening effect so obtained was in reality an incipient fogging of the whole plate. Another method suggested was, just before the end of the exposure, to rapidly withdraw the diaphragm from its slit, a procedure which was supposed to soften down by diffused light any portion of the facial lines which might be too greatly accentuated. This movement naturally led to vibration of the apparatus at the supreme moment, and the plan was quickly abandoned. Others, again, have advised that either the sensitive plate or the lens itself should be slightly moved during exposure, with the idea of bringing to a focus successively each part of the model, and of superposing, as it were, a series of sharp images upon another series of images out of focus. But although this method is as ingenious as the one which we have just considered, it is difficult to carry out, and necessitates the employment of special apparatus. More practicable was the idea of that American who endeavoured to secure the same residt during the printing operation. He conceived the employment of a printing frame which allowed the sensitive paper to be exposed close against the negative at the outset of the operation, but caused it to be withdrawn away a certain distance before the printing was completed. But here, again, was required a special apparatus which was relatively costly, and in which it was difficult to maintain complete parallelism between the paper and the glass; hence the contrivance has been quite forgotten. The whole of these methods, however, depend upon a true principle, and it is only because there has been difficulty in the necessary manipulations that they have been rejected. Seeing this, we have tried to obtain analogous results without in any way thrusting aside the ordinary impedimenta of the photographic printer, and we have been able to solve the problem by a very simple artifice. In the first place, we must endeavour to preserve the wrinkles, shadows, and general contour of our model, so as not to change his physiognomy ; but, at the same time, we may fairly endeavour to prevent exaggerated hardness in the lines represented. But we do not seek to do this during the taking of the negative, which is simply done in the ordinary way, and under the usual conditions. Even the printing of the positive is carried out in the ordinary manner at the outset, and until the print may be considered to be about two-thirds or three-quarters on the way to completion. It is then that the modification comes in. At this juncture we simply take a sheet of glass, or any other transparent body, of from one to three millimetres in thickness, and slide it gently between the negative and the partially printed proof, without displacing one or the other. We then re-expose the frame until the print attains full vigour. The first part of the printing has produced a normally sharp image, and the second, allowing the light to be diffused around each point in a regular and equal fashion, has gently softened those lines which might otherwise become too pronounced, and the desired result is obtained. The only delicate part of the operation is the insertion of the plate of glass, and this is simplified if a larger print ing frame than is actually necessary for the negative is employed. The best plan of procedure in this case is to place the negative in the angle of the larger frame employed, and to use a piece of positive paper for the print, which has an extra length attached, which can be shut in between the negative and the rebate of the frame, so that if the paper be raised for the insertion of the extra sheet of glass, both paper and negative shall remain in register. Printing frames are now made by many makers, the backs of which, instead of being hinged in the centre, are separated at one side, so that nearly the whole of the picture can be examined during the printing operation. It is obvious that such a form of frame is peculiarly fitted for the present purpose. With regard to the thickness of the supplementary glass plate, it may be one millimetre, or two, or three, according to the discretion of the worker, and it should be put in position over the positive at a time when the picture has nearly attained its full strength. The result is not at once strongly apparent, but the softening effect is there, and it will be found that, by the employment of this device, the disagreeable sharpness and rigidity of feature so often seen in a photographic portrait becomes blended with a bloom and softness which cannot fail to prove attractive. As a general rule, and for an ordinary carte portrait, the best effect is obtained by employing a glass two millimetres in thickness, which should be interposed when the print has attained two-thirds of its correct value ; but it must be understood that the thickness of the glass, and the precise moment when it must be inserted, must vary with the kind of negative, and with the particular effect which it is desired to produce. It is hardly necessary to indicate that this method is not indiscriminately applicable to all negatives. It would, for example, be ridiculous to employ it for the portrait of a man the accentuated lines of whose face constitute its chief characteristic. It is quite another thing with the portraits of women and children, where the hard lines come not by nature, but are made so in the process of photography. With platinum, or papers giving a black matt image, the appearance equals that which is seen in a carefully executed chalk drawing which has been softened by means of the leather stump. The little artifice here described acts, as will be seen, automatically during the printing operation, but it is necessary to employ it with discretion, and with regard to the particular negative in hand. Artistic effect can be obtained by this means, but the operator must have artistic feeling to produce it. A method, however good it may be, requires that a man should know how to employ it, a fact which is too often lost sight of.—Abstracted from Photo. Gazette.
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