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The photographic news
- Bandzählung
- 35.1891
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- 1891
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1726, October 9, 1891
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The photographic news
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AUTUMNAL FOLIAGE AND ORTHOCHROMATIC PLATES. The approach of fall and its beauties in the way of foliage should turn the thoughts of the photographer to the use of orthochromatic plates. When we look around and note the number of photographers that use ordinary plates on the richly-coloured landscapes of autumn foliage, we often wonder if they have ever seen the same landscape taken with a good orthochromatic plate. If they have not they should try such a plate, and we promise them that they will not soon return to the use of the ordinary kind. We thought that the knowledge of the use of ortho chromatic plates and their mode of working was pretty well written out, but we were very much surprised to hear a gentleman otherwise well posted in matters photographic, express surprise at the wide difference between the use of orthochromatic plates and those of ordinary manufacture, when used on coloured objects in nature. He further was surprised that the manipulation of the plates was so easy, and not very different from the ordinary varieties. The fact of the matter is, no one would use ordinary plates if they only knew how much better results can be obtained with the orthochromatic brands. There is only one drawback to the last-named plates ; they are slow after the lightning speed attained in some of the best brands of modern dry plates. Yet who wants to take a landscape or a portrait at such speed, except under special circum stances? As a rule, time can always be taken in these cases, and with infinitely better results, even with ordinary plates. As is now well known, the principle of orthochromatic photography was first enunciated by Professor H. W. Vogel in the year 1873, when, in the Photograplusche Milllieilungen, he stated (page 236) : “I* rom my experiments, I believe lam pretty safe in saying that we are able to render bromide of silver sensi tive to any desired colour ; or we may exalt the sensibility to certain colours which it already possesses, if we add to the bromide of silver some material which assists the decomposition of that compound, and which, at the same time, absorbs that colour and not the others. In this manner we are able to remedy the photographic inactivity of certain colours hitherto troublesome.” Since this principle was discovered, a number of colour ing matters have been proposed as sensitisers for the photographic plate. As a matter of fact, only those colours that are derived from the group called “ eosins ” have been found practically useful. They absorb the yellow and orange rays of the spectrum, and assist the decomposition of the bromide of silver when these rays fall upon its surface. These colouring matters act best when used in extremely small quantities, and when incorporated in the emulsion when it is prepared. The effect of the plates is to render the colours of the objects to be photographed in their true relation of shade ; thus, red letters on a black ground would come out as black as the ground, but with an orthochromatic plate the letters would come out lighter than the ground, or as they appear to the eye. Mr. G. Cramer puts the matter in such good shape in his paper read before the Photo graphers’ Association of America that we cannot do better than quote his words:— “Let us imagine a landscape before us; above, the blue sky with white clouds ; on the horizon, the distant hills; in the foreground, foliage in the beautiful shades of autumn. The ordinary plate would take the sky white, being just as sensitive to the light blue as to white rays ; and, therefore, will show no clouds unless they are of a darker shade. The distant hills would only be faintly visible, and the foliage be lacking in detail. The ortho chromatic plates would give us a soft, grey sky, not white, but with beautiful white clouds ; the distant hills just as distinct as you see them in reality, and the foliage with all the various gradations, from the finest high-light to the deepest shadow, every leaf being clearly detailed, and every blade of glass standing out from the rest. In all, it gives us just what we see with our own eyes, except the colours. For portraits, we will consider we have to photograph a pretty, rosy-cheeked girl from the country — rosy-cheeked, but a little freckled, with a blue dress and yellow trimmings, and with auburn hair. The ordinary plate will give her a fair face, but what a job to retouch all the freckles ! The blue dress will appear like a white one ; the yellow trimmings will be too dark. Her hair will show a great lack of detail, and appear the same as black hair. While the other plate will give, if anything, a bolder, rounder image ; freckles will not be visible to a greater extent than you can see them with your eyes, and, in the portrait, are generally smaller than the original, as they are almost entirely invisible. The hair will be of a medium shade, and as full of detail as that of a brunette. The dress will be of a proper tone, the yellow trimmings in harmony with the rest. ” This puts the matter in a nutshell, and from experience we can fully endorse his statements. In regard to the keeping qualities of the plates, we have the testimony of such men as Vogel, Eder, Leon Vidal, Bothamley, and others in Europe, while at home, the words of the veteran dry plate maker, John Carbutt, given at the Buffalo Convention last month, leave nothing to be desired on this score. This is what Mr. Carbutt says: — “ When I commenced making the orthochromatic plates in 1886, many scientists and amateurs in this country were experimenting in orthochromatising the commercial plain dry plate, and, while good results can be obtained by this method, it was found that they lacked the important quality of keeping, and this fact being made known through the photo journals, led many photographers to believe it applied also to the commercial-made orthochromatic plates; but I am able to state most emphatically, as a result of personal experience and experiment, that the orthochromatic plates made from emulsions containing the colour sensitiser have just as good keeping qualities as those made from plain emulsions.” From what we have stated, it is evident that orthochro matic plates are the only ones to be used for taking pictures of coloured objects, and for use in autumn landscape work they give results not to be approached by any other plates hitherto made for the photographer. In copying coloured pictures containing blues and reds a colour screen of orange shade is necessary, and also in taking pictures of distant mountains. In both the last cases more time is necessary than when the screen is not used. Try the orthochromatic plates, and if you use them rightly you will not soon abandon them.—Anthony's BuUelin. TUNBNIDGE Wells ANATEUR Photographic Association.— The fifth annual exhibition will be held at the Royal Sussex Assembly Rooms on Wednesday, Thursday, Friday, and Saturday, Nov. 25th, 26th, 27th, and 28th. Particulars may be obtained on application to Mr. Joseph Chamberlain, Hon. Sec., 14, Calverly Park Gardens, Tunbridge Wells.
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