Suche löschen...
The photographic news
- Bandzählung
- 5.1861
- Erscheinungsdatum
- 1861
- 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-id1780948042-186100002
- PURL
- http://digital.slub-dresden.de/id1780948042-18610000
- OAI-Identifier
- oai:de:slub-dresden:db:id-1780948042-18610000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
- Strukturtyp
- Band
- Parlamentsperiode
- -
- Wahlperiode
- -
- Bandzählung
- No. 152, August 2, 1861
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
- -
-
Zeitschrift
The photographic news
-
Band
Band 5.1861
-
- Titelblatt Titelblatt I
- Sonstiges Preface III
- Ausgabe Ausgabe 1
- Ausgabe Ausgabe 13
- Ausgabe Ausgabe 25
- Ausgabe Ausgabe 37
- Ausgabe Ausgabe 49
- Ausgabe Ausgabe 61
- Ausgabe Ausgabe 73
- Ausgabe Ausgabe 85
- Ausgabe Ausgabe 97
- Ausgabe Ausgabe 109
- Ausgabe Ausgabe 121
- Ausgabe Ausgabe 133
- Ausgabe Ausgabe 145
- Ausgabe Ausgabe 157
- Ausgabe Ausgabe 169
- Ausgabe Ausgabe 181
- Ausgabe Ausgabe 193
- Ausgabe Ausgabe 205
- Ausgabe Ausgabe 217
- Ausgabe Ausgabe 229
- Ausgabe Ausgabe 241
- Ausgabe Ausgabe 253
- Ausgabe Ausgabe 265
- Ausgabe Ausgabe 275
- Ausgabe Ausgabe 287
- Ausgabe Ausgabe 299
- Ausgabe Ausgabe 311
- Ausgabe Ausgabe 323
- Ausgabe Ausgabe 335
- Ausgabe Ausgabe 347
- Ausgabe Ausgabe 359
- Ausgabe Ausgabe 371
- Ausgabe Ausgabe 383
- Ausgabe Ausgabe 395
- Ausgabe Ausgabe 407
- Ausgabe Ausgabe 419
- Ausgabe Ausgabe 431
- Ausgabe Ausgabe 443
- Ausgabe Ausgabe 455
- Ausgabe Ausgabe 467
- Ausgabe Ausgabe 479
- Ausgabe Ausgabe 491
- Ausgabe Ausgabe 503
- Ausgabe Ausgabe 515
- Ausgabe Ausgabe 527
- Ausgabe Ausgabe 539
- Ausgabe Ausgabe 551
- Ausgabe Ausgabe 563
- Ausgabe Ausgabe 575
- Ausgabe Ausgabe 587
- Ausgabe Ausgabe 599
- Ausgabe Ausgabe 611
- Register Index 619
-
Band
Band 5.1861
-
- Titel
- The photographic news
- Autor
- Links
- Downloads
- Einzelseite als Bild herunterladen (JPG)
-
Volltext Seite (XML)
THE PHOTOGRAPHIC NEWS. Vol. V. No. 152.—August 2, 1861. INSTANTANEOUS PHOTOGRAPHS OF LONDON. Ihb term instantaneous photography is too often spoken of as if it were an absolute thing without any relation to time, place, or circumstance. Thus we hear of “ instantaneous processes,” “instantaneous collodion,” “instantaneous dry plates,” &c., without any reference to the other conditions necessary to instantaneity. What constitutes an instan taneous picture is not absolutely defined ; in some instances au exposure of one second would be held to be instantaneous, and in others the tenth part of a second only would be required to produce a similar effect. In taking objects in motion, if the proofs are sharp and crisp without any blur ring of the moving figure, the picture is held to be instan taneous. The rate of motion of the object, its direction across the field of vision, and the distance from the camera, are rarely considered, neither are the amount of actinism present nor the luminosity of the objects to be taken. Ifan instan taneous process were an absolute thing, then an express train, passing at the rate of fifty miles an hour, might un questionably be photographed successfully, a feat which has not yet, we believe, been accomplished. The train passes over a space of about eight feet in the tenth part of a second, our readers may judge, therefore, the rapidity of the process necessary for securing a sharp image of an express train. Nevertheless, we have seen steamers at sea and clipper yachts before a smart breeze with all canvas spread, cutting the waters, perhaps, at a speed of twelve knots, or upwards, an hour, in which every line of cordage has been secured as sharp as if traced with a needle, waves with every crest of foam distinct, and flying clouds, without a blur. We were recently at the sea-side in company with Mr. Samuel Fry, who, in securing instantaneous marine effects, frequently found that the utmost possible rapidity of exposure, with an aperture of less than three-eighths of an inch, whilst giving perfectly instantaneous effects, in some cases produced over- exposure, such was the sensitiveness of the chemicals, the amount of actinism present, the luminosity of the objects, and the perfection of the lens. Wo may add, as a fact some what startling, that on one occasion that we—Mr. Hughes, Mr. Fry, and ourselves were present—secured fine effects of water, cliff, and sunset clouds at nearly nine o’clock on a July evening, with an exposure often seconds. Instantaneous effects, in a city, present a new class of difficulties. Whilst the rate of motion is less rapid, it is more confused and varied ; the objects are less luminous . and the light is less actinic. Messrs. Ferrier and Soulier discovered this fact in producing their street scenes in Paris. If this were manifest in Paris, what must it be in London ? The constancy and energy of the stream of moving figures, pedestrian, equestrian, and vehicular, and above all, the smoky, misty, non-actinic atmospheric conditions arc well calculated to baffle the most ardent photographer. Under these circumstances it is not surprizing that so few instantaneous views of London exist. We have recently received from Messrs. Dages and Harman, of Peckham, a score of specimens, of by far the best street scenes of London which have come under our notice. With a courage which is most praiseworthy, they' have not shrunk from selecting many scenes presenting the greatest difficulties, where it has happened that they have at the same time possessed the most interest. Amongst these we may' mention London Bridge Hailway Terminus, with its crowds of cabs, omnibuses, and loot-passengers, London Bridge itself, similarly crowded, and the clock tower on the Surrey side. Charing-cross, the Strand, Fleet-street, Regent’s-quadrant, and others, all pre sent a similar scene of activity and bustle. In some of these it is quite easy to count upwards of fifty boldly-defined foreground figures, without mentioning those in the distance. There are also some very interesting river scenes on the Thames, with shipping and steamboats in full motion, &c. It would be too much to say of these that they were all first-rate specimens of photography ; but they are very good under the circumstances. The chief fault which strikes us— and we mention it because we feel assured that these artists having done so much are able to profit by the hint—appears to have arisen from some over-anxiety to obtain intensity. If we judge correctly, the negatives have been taken by' some process requiring subsequent intensifying—probably by means of iodine, pyrogallic acid, and silver—and this has been carried slightly too far. The tendency in rapid processes is to the production of what Mr. Hughes has happily phrased a “ phantom image.” A negative with all the detail there, but so faint, so filmy, so transparent as to be little more than a phantom. To intensify such images at all, so as to secure printing qualities, requires some skill, and there is a great temptation to go too far, and so produce chalki ness. In these prints the distances, which at best in London are generally misty enough, appear obscured a little more than even the smoky atmosphere demands, by too long con tinued development or intensifying ; the same process at the same time producing another defect—the white sky. But these drawbacks are not present in all, many of the pictures being surprisingly good photographs of such scenes. The instantaneity is in many cases perfect. Here are omnibus horses with uplifted legs without a blur, and foot- passengers in every stage of action perfectly defined. Some few of the figures are not quite crisp and sharp, but this is chiefly where they have been defined with the extreme edge of the lens, rather than from want of rapidity in the exposure. Altogether they are very interesting, and, as we have said, the best instantaneous street views of London we have seen. There is another hint we would throw out to these artists and others of our readers whom it may concern. The mounts of all photographs, and of stereographs in particular, should never be of a positive colour. The bright yellow of these mounts mars much of the effect. A warm grey, drab, or stone colour, in all cases as neutral and unobtrusive as possible, should be chosen, to secure the best effect. THE FRENCH PHOTOGRAPHIC SOCIETY AND THE EXHIBITION OF 1862. Some curious misapprehension seems to have existed amongst the members of the French Photographic Society when discussing the question concerning the proposed classifica tion of photography in the forthcoming International Exhibition, to which their attention was called by the secretary of the London Society. Interpreting, apparently, Professor Playfair’s letters in an authoritative sense, and regarding his strongly-expressed conviction that photo graphy must be placed in its proper position, they are puzzled by the recommendations of Dr. Diamond’s letter, which advise entire abstinence in contributing; and, as may be seen in the letter of our Paris correspondent, some of them are inclined to attribute sinister motives, and allow exploded notions of the supposed bad faith of “ perfidious Albion,” to take possession of their minds. The letter
- Aktuelle Seite (TXT)
- METS Datei (XML)
- IIIF Manifest (JSON)