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The photographic news
- Bandzählung
- 35.1891
- Erscheinungsdatum
- 1891
- Sprache
- Englisch
- Signatur
- F 135
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- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
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- SLUB Dresden
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- Public Domain Mark 1.0
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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. 1720, August 21, 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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590 THE PHOTOGRAPHIC NEWS. [August 21, 1891. “ A Booby,” and here again we have a most faulty drawing There is less excuse for faults in this case, for the author admits that he had every opportunity of seeing the bird at close quarters—at least, this may be gathered from what he writes concerning it:— “The foure and twentieth of May, we were under nineteene degreesand thirty-one minutes of south latitude, where one of the saylers, espying a bird fitly called a Boohj, hee mounted to the top-mast and tooke her. The foolish quality of which bird is to sit still, not valuing danger, which bird I have here simply depicted as you see. ” These exam ples of the sort of drawings that seventeenth century folks had to con tent themselves with are to me very interesting, and I hope that they may prove so to others. It is, of course, unnecessary to say that these crude produc tions were greatly improved upon in later years, but the best of them all cannot hold a candle to the beautiful work done within recent years by the camera. In connection with modern animal photography, I fancy that the earlier workers in this field are sometimes apt to be forgotten by the rising generation of photographers. But it will do no harm to remind them that certain pictures which have never yet been surpassed were taken long before the modern dry plate became an article of commerce. I may specially note the names of Mr. Haes, Mr. York, and Mr. Dixon. Any one of these gentlemen can point to pictures, taken under great disadvantages, from which the aspirant of to-day can get many valuable hints. There were then but few who attempted such work ; now the camera bearers at the Zoological Gardens are almost as numerous as the animals of a lower grade. This phase of photography certainly has much fascination about it, and is most useful in giving truthful representa tions of some of the most beautiful of nature’s works. That our forefathers laboured under some disadvantages in their endeavours to realise the appearance of creatures not indigenous to their own country, the examples which I have sent to the editor for reproduction will sufficiently attest. 4 bootie A Novel Idea in Photography.— Ernest Marks, a young Plainfield photographer, who has made a name in connection with instantaneous photography, especially of racing events, has invented a method of photographing the finish of close races. In order to secure the exposure at exactly the right moment, he has his camera accurately placed beneath the wire on a pivot in such a way that, by first viewing the horses as they approach the last sixteenth of a mile, and following them up with his finder, the exposure is automatically made when the camera has reached its proper position under the wire just as the winning horse’s nose passes under. Mr. Marks proposes to affix an electric arrangment by which he may secure a still more accurate exposure, there then being no chances of the shrinkage or expansion of the operating string. The camera will not lie, however heavy the bets may be on a losing horse, and there is no chance to declare a “ dead heat” when a photographic negative plainly shows one horse to be a half head or more in advance of the other.—Lithographic Art Journal, PRACTICAL DIRECTIONS FOR THE RETOUCH ING OF POSITIVES. BY A. CHEVALIER. Retouching on Carbon Tissue. The retouching of these proofs presents difficulties which are peculiar to the process, but, once well understood, it will permit one greatly to improve prints, although they may be originally of a very second-rate description. The resources at the disposal of the retoucher in this process are very many. A proof may be positively covered with blemishes, and to all appearance useless, but by following a methodical plan of retouching it is possible not only to save it, but to completely restore it. In the first place, you must attend to the groundwork in order to give to the picture its relative values. If the proof is afflicted with dark spots—which is frequently the case—you must scrape them until the blemishes are changed from black to white, and they can then be made to harmonise with the rest of the ground by the judicious use of the pencil or brush, but it is difficult to so adjust the work of the scraper and of the pencil as to obtain the required equal isation of tint. If, on the contrary, the blemishes should be light rather than dark, the use of the brush is at once indicated. For this work you employ four colours, the mixture of which in certain proportions will give you the exact tone of the photograph. These colours are ivory black, carmine, emerald green, and blue. It is indispensable to add to the water employed in mixing these colours a sensible proportion of gum arabic, so as to give the necessary force to the shadows. Besides the gum must be added a very small quantity of prepared ox-gall, so as to make the colour flow well, and to counteract any grease which may be present. Stumping in a Background in Chalk (Pastel) on (say) ARISTOTYPE Paper. In this case the background of the picture should be perfectly white. In order that the chalk may leave its mark on the paper without inequality, but with a regular grain, you must commence by abrading the paper by means of a fine linen sprinkled with finely-powdered pumice. Care should be taken to encroach as little as possible on the lines of the image, and also to avoid leaving any spaces uncovered by the pastel. You can then employ the stump, and obtain a background graduated, or of any other des cription. The background thus made is mat, and by no means in harmony with the rest of the photograph. Moreover, it is so delicate that the slightest movement will cause it to rub off ; so that it is advisable to fix it, and, at the same time, cause it to harmonise with the rest of the image. This can be brought about by using certain fixatives to be obtained commercially, and which are used for this purpose by pastel painters. These are applied by means of a spray producer, after care has been taken to protect the rest of the picture by means of parchment paper. This pre caution is indispensable, for otherwise the wax dissolved in the fixative would interfere with further operations which might be required with pencil or scraper. Retouching on Eastman (Bromide) Paper. This paper will take chalk or pencil. For the shadows it is best to employ a dark crayon, while the lights are treated with one which is very hard. In treating the background, the same method is advised as that recom mended for carbon paper. It is probably more easy to
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