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The photographic news
- Bandzählung
- 24.1880
- Erscheinungsdatum
- 1880
- Sprache
- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
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- urn:nbn:de:bsz:14-db-id1780948042-188000001
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- http://digital.slub-dresden.de/id1780948042-18800000
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- Bandzählung
- No. 1160, November 26, 1880
- Digitalisat
- SLUB Dresden
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- Parlamentsperiode
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- Wahlperiode
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Zeitschrift
The photographic news
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Band 24.1880
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- Register Index 631
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Band
Band 24.1880
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572 THE PHOTOGRAPHIC NEWS. LNOvEMBER 26, 1880. The Dundee and East of Scotland Photographic Associa tion contemplate holding a Photographic Exhibition in Dundee in 1881. India-rubber articles, as everybody knows, are apt to become hard and brittle in time, and to lose their elasticity ; but these qualities, according to Dr. Pol, may be restored by the very simple means of immersing them in a solution of ammonia. Two parts of water to one part of liquor ammonia is a convenient mixture, and immersion in this for a period of more or less than an hour is said to give back the rubber its original elasticity. Why the stars twinkle, M. Moutigny tells us, is because of the commotion in the air of the upper regions, or, when the phenomenon is especially remarkable, because bad weather is approaching. No doubt this change in the stars could be recorded photographically if need be, for the more a star twinkles the brighter it generally appears. Mr. Whipple must add yet another photographic recording instrument to those already in the Kew Observa tory—a star camera to foretell good and bad weather. The sea-serpent has again made its appearance, this time in Nature, which contains wood-cuts of the colossal animal. We may hope, therefore, at some future time, to have photographs of the mysterious being; it is upon the camera we shall have to rely to confirm or refute the mystery for ever. Our readers will rejoice to hear that the Rumford medal of the Royal Society has been awarded to Dr. W. Huggins, F.R.S., for his researches in astronomy, and more especially for the interesting data resulting from his series of star photographs. Mr. J. W. Swan exhibited his new electric lamp—a carbon thread aglow in a tiny glass globe—on Wednesday before the Telegraph Engineers, at the Institute, Great George Street. This is the first time the lamp has been seen in London. The original Edison lamp, in which the light is also obtained by means of incandescent carbon in a vacuum, and of which the public has heard so much, is also to be seen in London just now, Colonel Stuart Wortley having secured it during his recent visit to America for the Patent Museum nt South Kensington. We are glad to find that “slow development ” is still the order of the day with some of our careful landscape photographers, notwithstanding that rapid films and quick developers are everywhere available. Mr. Herbert Berkeley was good enough to show us the other day a fine series of Welsh pictures, whose development occupied, on an average, ten minutes. Mr. Berkeley employs pyro gallic development, and makes use of sulphite of soda as a restrainer. Captain Abney’s method of preparing a collodion emul sion sensitive to the “ infra-red region of the spectram,” which we published last week, has been awaited with much anxiety by the scientific world, for the investigation of the spectrum by photographic means still occupies very much attention. With Captain Abney’s new emulsion it would seem as easy, apparently, to photograph the invisible heat rays that come from a kettle of boiling water as the blinding beams of the sun. opics of the fag. POSING THE MODEL. BY LYDDELL SAWYER. It is interesting to note how unalterably each photographic student, as he attains that proud moment of his life when he is first allowed to pose a sitter, determines to do something worthy of himself; to, in short, stamp origina lity on his work—and original, indeed, it invariably turns out to be, with little necessity to have it registered for preservation from piracy. The fault is that he has branched off into a bye-path of individuality at the beginning, instead of at the termination, of the common highway of photographic education. Hence he must retrace his steps. A primary point which he should bear in mind is that, independent of the due recogni tion of balance and unity in a portrait, there are parti cular positions suitable to different subjects,* and into which they should to an extent naturally fall without an undue amount of “ packing.” If a position is found not to “ fit,” it is invariably recommendable to change it at once, without a needless expenditure of time, otherwise it will only look pieced up when finished. A good plan in some of these cases is for the photo grapher to take the place of the sitter, and, assuming the position vacated by the latter, to make the faults apparent by exaggerating them himself; then he may advanta geously, as nearly as possible, show the pose he really desires to produce. What photographer does not find himself occasionally fortunate in having a model who at once assumes grace fully the position indicated, and, while anxious to make alteration, trembles lest it be divested of its soul, yet that alteration made seems only to unfold further charms? These are the opportunities for firing off elaborate poses! Although even then it is as well to remember that simplicity is a principal charm in art, and that it is the grace delineated in the position, rather than the position itself, wherein exists the beauty. Many photographers who do a large middle-class busi ness, while their work is mechanically good, yet betray in it their ignorance of the rules of artistic form. Indeed, I have heard some of them openly avow that “ that fiddling work is only for those fellows with little else to attend to.” But this superficial reasoning is certainly entirely erroneous, for a knowledge of art must necessarily be as useful in producing quantities of negatives as it is when striving for quality alone; it gives the photographer decision. He no longer “ halts ’tween two opinions ; ” ho knows at once what he is aiming at, and that knowledge goes far towards the expeditious forwarding of his work. * I use the terms “ subject ” and “ model" indiscriminately, as I con sider them both admissible in alluding to general photography, although they have a varied signification in individual pictures. A sitter having a representation of himself produced must certainly be the subject of the portrait, engrossing the principal attention of the photographer and idea of the picture, whereas, in the artistic sense, a painter’s model is some times (like his brushes) only an auxiliary to the subject oi a picture. In short, the subject is the idea of the picture, and the model may, or may not, be the subject, according to the desire of either the painter or the photographer.
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