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The photographic news
- Bandzählung
- 24.1880
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- 1880
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- Bandzählung
- No. 1122, March 5, 1880
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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 24.1880
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Uge 99qotograpkir ths. Vol. XXIV. No. 1122.-MARCH 5, 1880. CONTENTS. page Photography In and Out of the Studio 109 At Home.—Messrs. Williams and Mayland in Regent Street 110 On the Photographic Spectra of Stars. By William Huggins, D.C.L., LL.D., F.R.S Ill Photographs from the Works of Living Artists. By W. H. Davies 112 Drilling 113 Wet and Dry Plates 114 A New Style of Portrait 114 Notes 115 Topics of the Day.—Carbon Pictures on Opal. By J. R. Sawyer 11G Investigation of the Different Conditions of Silver Bromide. By M. J. S. Stas 118 On a Process for Printing by Development. By Captain Abney, R.E., F.R.S 119 Correspondence.—Mr. Bassano’s Studio—The Venus of Milo ... 119 Talk in the Studio 120 To Correspondents 120 WET AND DRY PLATES. "WHAT is to become of the collodion makers?” is a query that has frequently been put of late ; and really, with the dull winter months still vividly in our minds, we may well ask the question. Photographers have simply left photography alone, or they have sought refuge in gelatine plates. But very few have occupied themselves with the silver bath and wet collodion, for the simple reason that the foggy weather rendered camera work with these impossible. But as the sun gets higher every day, so do the hopes of collodion-makers rise, and there are some who tell us that when midsummer comes round again there will no longer be that marked difference between the sensitiveness of the gelatine film and that of the wet collodion plate. In other words, the sensitiveness between gelatine and wet collodion is much more marked in dull than in fine weather. Experimentalists have shown that in the recent winter they have been able to secure pictures upon gela tine plates with a twentieth part of the exposure necessary for wet collodion, but they will not be able to do this in the summer time. In the same way as the bromine salts are found to be more sensitive to the least refrangible rays of the spectrum, so they are more impressed by our dull daylight than are iodine salts. We have long known this fact. Iodine alone is apt to give us very bright but very hard pictures, and for this reason we introduced bromine salts into our collodion as well. An iodised collodion never gives such half-tones, such detail in the foliage of a landscape picture, as a bromo-iodized collodion. lhe photo-lithographer, who wants a negative with marked contrasts, would be content to employ collodion contain ing iodine salts only, but few others ; bromine salts are absolutely necessary to secure delicate detail in the shadows, and to reproduce the least refrangible rays of the spec trum. Iodide is more susceptible to the violet end of the spectrum, while the red end impresses bromide more effec tually ; and there is little doubt that in winter time our light is richer in red rays. The great value, then, of the gelatino-bromide film is that it is impressed by dull daylight, which has little effect upon wet bromo-iodised collodion. But this will not be readily abandoned by photographers. The gelatine plates, soft and delicate as their images undoubtedly are, do not sur pass in their results those of wet collodion in our lighter months, and since this is so, we shall be still glad to avail ourselves of the beautiful process that has stood us in good stead so long. In a word, we fully believe that while gela tine must be henceforth practised by every photographer, the collodion plate will still remain a favourite. The rapidity of the manipulations, the ability to watch closely, every change, and the modifications to which the wet plate may be subjected in skilful hands, are all merits not to be lightly valued, while, as we have said, the great disproportion in the sensitiveness of the two films in the winter months will be much less remarkable when we are favoured with abundance of daylight. Therefore there need be no fear for the collodion makers. They will still be able to take good care of themselves, and doubtless find ample sale for their wares. The wet collo dion process, all said and done, still remains the simplest in the hands of the unskilled, for they can watch the changes in the image with less difficulty, and less care is necessary in excluding light from the dark room—matters that are so frequent a cause of failure to beginners. A photographer must have mastered the wet process tho roughly before he can hope to make way in the technical branch of the art, since dry plate photography is replete with niceties of manipulation. A mediocre wet plate may give satisfaction, but unless a dry negative is thoroughly good, it will not pass muster at all. A NEW STYLE OF PORTRAIT. Photographers have evidently made up their minds that it is high time to introduce some new style of portraiture to the public, and we entirely agree with them. The carte and cabinet are very well in their way, and will long con tinue to be demanded by the public ; but there cannot be a doubt that if some other format could be made popular during the ensuing season, a considerable impetus would be given throughout our little photographic world. It must not be forgotten that there is something else besides art which makes a picture sought after by the public, and that is fashion. Several innovations that have come to us from abroad owe their popularity not so much to art—although they may have been in themselves artistic —as to a certain amount of elegance, “ go,” chic, or whatever it is termed ; the cameo-faced portraits, and those with ornamental margins, are instances of this, and, although neither enjoyed popularity for a very long time, this popularity was certainly due to fashion more than anything else, and, it cannot be denied, put money in photographers’ pockets. Therefore, we say, in introducing a new form of portrait to the public, let it be as artistic as you like, but let it possess something else besides. Photographers, as we say, are everywhere desirous of securing an innovation of some kind, and many of them are ready with this innovation to hand. They not only want to have their own way, but their own way of having it. Now it isour opinion, and we simply give it for what it is worth, that if a new portrait is to be a success, it should be essentially differ ent in character to the carte and cabinet of the present day. It should possess style as well as art qualities, and for this reason, as also from the fact that a picture, which was termed originally by Mr. Valen tine Blanchard the “boudoir,” has already made a start in this country, on the Continent, and in America, we earnestly hope that this format will be adopted generally. Whether, as the word “ boudoir ” has been rather vaguely used of late, it would not be better to make use of the term “ panel,” is a matter for after-consideration, but a print measuring seven and three-quarter inches by three and three-quarter inches is the size to which we definitely refer, and for which card mounts have long since been made by all mount manufacturers. A portrait of these dimensions cannot fail to please with the public just now, more espe cially since the present fashion of ladies’ dresses will con form well to the dimensions in question. One thing is clear. Photographers must pull together if they want to make a definite step. This we urge upon them very earnestly, and if any suggestions come to us on the subject we will readily give them the publicity of these columns,
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