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The photographic news
- Bandzählung
- 35.1891
- Erscheinungsdatum
- 1891
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- Englisch
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- F 135
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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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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- Bandzählung
- No. 1716, July 24, 1891
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The photographic news
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Band 35.1891
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K. Finally, a word or two.—The end of all waste is silver and gold, if you strive to follow our advice. Dissolve the salt and iron before they are added to the waste solu tions. A few drops of acid should be added to the iron solution before it is used. Any acid added to a cyanide solution will precipitate the silver. Have abundant air in circulation about you when you do this, for the fumes waste you! Don’t use sheet zinc for anything hereof. Last, but not least, do not send small lots of waste to be refined, but wait until you have a reasonable quantity, for expenses and charges are then comparatively less. St. Louis and Canadian Photographer. PHOTOGRAPHY IN FRANCE. BY LEON VID^L. French Photographic Society — Coloured Liquid Screens—Shutter—New Roll-Holder—Direct Posi tives in the Camera-New Curtain Shutter—New Zincographic Process—Societe d’Etudes PHOTO- GRAPH IQUE. Coloured Liquid Screens.—M. Franck has introduced some new tanks formed of glasses with parallel sides, between which is injected a coloured liquid, this arrange ment taking the place of the coloured screens commonly used. This communication recalls one having the same object which was put forward by M. Chouroude. It is evident that these tanks can render efficient service in connection with orthochromatic work, although one would prefer a solid preparation on glass or pellicle. We need not add to the complications of the work by introducing such manifestly awkward arrangements. New Shutter by M. Gillon.—This contrivance is of metal, and it is placed between the two combinations of the lens. According to the inventor, it gives various speeds, from one of some minutes’ duration, to the a Jo th of a second. It is composed of three eccentric leaves which cross one another, and the opening between them is central. New Roll-Holder by M. Flauvel.—This holder enables the operator to change the rollers in full sunlight upon which the film is carried. They are surrounded by several turns of a non-actinic material, an arrangement which has been suggested and adopted before. This holder, how ever, is very well designed. Direct Positives in the Camera.—Col. Waterhouse’s new method. This is a communication upon a subject which has already been well ventilated in the columns of the Photographic News. New Curtain Shutter by Commandant Moessard.— This inventor has produced a shutter on the curtain principle, which is placed in front of the negative plate in the camera, and which has an opening varying from one millimetre to two centimetres. It can be moved with great rapidity, and springs are employed to regulate its movements. But what is the use of such complications when other shutters are available which are so much more simple and convenient ? Zincographic Process, by MM. Lumiere, Fils.—We printed last week in the Photographic News the full text of this interesting communication. Societe d’Etudes Photographique.—A new process for impressing lines on a metal plate has been brought forward by M. Parison. It consists in the employment of a hollow cylinder which has on its surface a series of small holes made in a straight line, Within the tube, or cylinder, is placed a source of light, and as the tube moves over a metal surface made sensitive to light, a line is produced by the light emitted from each hole. The arrangement is a somewhat complicated one, and is not likely to supersede better known methods. LIGHTING IN PORTRAITURE. BY XANTHUS SMITH. Light and shadow is the soul of art. There is no higher expression of art than in fine sculpture ; and as the beauty of form in sculpture is developed by light and shadow only, and as light and shadow is the sole mode of expression of photography, we may, I think, be permitted to use sculpture as a basis from which to draw our comparisons, and upon which to form our principles. The sun, the great giver of light and of life, is also the great sculptor and painter. We poor mortals, admiring the infinite beauties which he constantly spreads before us, are ever in vain trying to imitate them. To our percep tions, when the sun is doing its great work it is ever above us; as it descends it becomes more feeble, till, as it passes beneath the horizon, its work is done, on our half of this sphere, for the day. The objects which constitute nature, to our perceptions, are never lighted from beneath. Has nature purposely so designed her infinite creations that they may appear the most interesting by this lighting from above ? Or are we, through mere habit, so accustomed to it that we accept it as the right ? We think we may safely hold that the former is far the more likely, as in both animal and vegetable growths we universally see the greatest beauties of conformation and colouring upturned, as if thus to receive to the best advantage the descending rays of the glorious sun. In the human countenance and its portrayal to the best advantage, which forms the theme of our present writing, we have the finest example of the influence of light and shadow in developing properly nature’s finest work, if we adhere to what she has evidently pointed out as her intention. Let us take the features separately. The forehead, the seat of the highest intellectural qualities— how can it be lighted to show its beautiful conformation but from above? Then the eyes and eyebrows—how else can we see their force and detail and brilliancy than by an upper lighting? Take a fine nose and place a light beneath it, and what can you make of it ? Of the mouth, chin, and cheeks—nay, even the ear—can we say aught else than that when lighted from underneath their individual interest is lost, and their beauty destroyed in place of being developed? How, then, taken as a whole, can we make anything but what we may almost call an absurdity of a human head under a false lighting ? Nothing is more easily and plainly exemplified than the unpleasant effect of ill lighting. Let the handsomest member of any family favoured with average good looks— whether it be man or woman, old or young, it matters not —stand himself up at night, or in a darkened apartment, and let another member of the family take a good lamp and place it at any angle or in any position which he may choose with regard to the head and face of the individual posed, so that he always keep it below the level of the head; and let the other members of the family decide whether they would admire and value a picture of the one so seen under any of the varied aspects which he or she would present. I think we may safely say that in ninety- I nine cases out of a hundred they would not.
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