Suche löschen...
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
- Digitalisat
- SLUB Dresden
- Lizenz-/Rechtehinweis
- Public Domain Mark 1.0
- URN
- urn:nbn:de:bsz:14-db-id1780948042-188000001
- PURL
- http://digital.slub-dresden.de/id1780948042-18800000
- OAI-Identifier
- oai:de:slub-dresden:db:id-1780948042-18800000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
- Bemerkung
- Exemplar unvollständig: Seite 1-82 in der Vorlage nicht vorhanden
- Strukturtyp
- Band
- Parlamentsperiode
- -
- Wahlperiode
- -
- Bandzählung
- No. 1126, April 2, 1880
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
- -
-
Zeitschrift
The photographic news
-
Band
Band 24.1880
-
- Ausgabe Ausgabe I
- Ausgabe Ausgabe I
- Ausgabe Ausgabe I
- Ausgabe Ausgabe I
- Ausgabe Ausgabe I
- Ausgabe Ausgabe I
- Ausgabe Ausgabe 83
- 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 277
- Ausgabe Ausgabe 289
- Ausgabe Ausgabe 301
- Ausgabe Ausgabe 313
- Ausgabe Ausgabe 325
- Ausgabe Ausgabe 337
- Ausgabe Ausgabe 349
- Ausgabe Ausgabe 361
- Ausgabe Ausgabe 373
- Ausgabe Ausgabe 385
- Ausgabe Ausgabe 397
- Ausgabe Ausgabe 409
- Ausgabe Ausgabe 421
- Ausgabe Ausgabe 433
- Ausgabe Ausgabe 445
- Ausgabe Ausgabe 457
- Ausgabe Ausgabe 469
- Ausgabe Ausgabe 481
- Ausgabe Ausgabe 493
- Ausgabe Ausgabe 505
- Ausgabe Ausgabe 517
- Ausgabe Ausgabe 529
- Ausgabe Ausgabe 541
- Ausgabe Ausgabe 553
- Ausgabe Ausgabe 565
- Ausgabe Ausgabe 577
- Ausgabe Ausgabe 589
- Ausgabe Ausgabe 601
- Ausgabe Ausgabe 613
- Ausgabe Ausgabe 625
- Register Index 631
-
Band
Band 24.1880
-
- Titel
- The photographic news
- Autor
- Links
- Downloads
- Einzelseite als Bild herunterladen (JPG)
-
Volltext Seite (XML)
rather not make themselves acquainted with the working of the power that is about them? and if the number of dry plate makers be any criterion there are just grounds for believing that, slowly but surely, the new power is being appreciated. Knowing that increasing interest is being taken in the process, and, moreover, considering that we, as a Society, have given comparatively little attention to it, I am per suaded that a practical demonstration of the preparation of the emulsion and plates will not be unprofitable and, I trust, not without its effect. For this reason I gladly availed my self of the opportunity given me by our energetic Secretary (Mr. W. J. Chadwick) to bring the subject before you. Before turning to the practical part of our meeting I wish to make observations which I hope will prove helpful to Other workers. Many of you will remember that when I appeared before the Society on behalf of the gelatine process, in December, 1877,1 complained of the trouble I had ex perienced owing to the frilling of the film—a defect very few have the pleasure of escaping. It affords me much pleasure to be able to lay before you what I believe to be a cure for frilling. I am aware the general opinion is that a gelatine film does not require a substratum—an opinion which I re-echoed on the occasion just referred to. Since then I have satisfied myself that a plate to which has been applied a substratum previous to coating with emulsion will (if not in all cases, certainly with few exceptions) give, a result free from frilling. I do not say any substratum will do. I am doubtful about albumen, which appears to bo loosened by the strong developer used. India-rubber in benzole will answer, but there is a difficulty in getting an even film with the emulsion. The one I have used with success for nearly twelve months is a solution of gelatine withan addition of chrome alum, as suggested for collodion emulsions by Mr. H. Cooper, from whom I quote :—“ The formula is gelatine sixty grains, water ten ounces. When dissolved add two and a half grains of chrome alum dissolved in a little water; stir well and filter, and keep warm. Coat the plates whilst wet after cleaning, and rear up to dry. To coat a dozen plates takes far less time than to wipe and polish them.” If required, spoilt films may be removed with the aid of a brush after soaking them in water to which has been added a little common salt, as recommended by Mr. Edwards. (To be continued.) PRINCIPLES OR RULES OF PICTORIAL COM POSITION. At the last meeting of the Edinburgh Photographic Society, Mr. W. Neilson read a careful and succinct paper on this subject; the several points touched upon he placed under distinct headings, so as to treat of them specially in turn. They were as follows:— Unity.—This word embosoms one of the grandest ideas concerning nature—the uniting of its myriad details in a oneness; one end alone in view. The world is a unity. The universe is a unity. And as it is in nature so it is in art, which is the artificial representation or translation of nature. A picture must be pervaded with a oneness of design, and the wider tho design is, giving, in its unity, play for the rules of art, the more complete will the picture be as a work of art. The generality of pictures now seem to be of narrow design—mere sections of landscapes, giving no great range for the rules of art; but if they are to be esteemed pictures at all, they must at least be a unity. Details are only admirable in art in proportion as they conduce to help out the design. Bricks are not very admirable in themselves, but they become noble as parts of a sublime temple. The photographer is at a disadvantage as regards this rule. He cannot command the sections of nature before him into unity ; but he may arrange so as to bring into prominence the parts that conduce to the main design, and throw into shade the parts that would interfere with that. Likeness in Unlikeness.—This I call the fundamental law of all the fine arts. It meets a want of our nature. So much is it in accordance with our human constitution that a child s first approach to intellectual delight is when the words of a man are put into the mouth of a bear, or the like. And what book of enchantments ever can equal that first delicious classic, “Who Killed Cock Robin”? Allegory, fable, and simile derive their fascination from “ likeness in unlikeness.” It underlies the whole of music, although sometimes so slightly interwoven that it can scarcely be observed ; but it becomes fully apparent in “variations” and “fugues.” It also underlies the rhythm of poetry, although it may be very delicately modulated ; and the charm of rhyme depends wholly on it—two different words meeting in one sound. Architecture is greatly indebted to it, and sculpture and pictorial art could not exist without it. In sculpture it gives the rounded figure without the colour of life, and in the picture it gives the colour of nature on a flat surface ; but it also enters, more or less, into the constitution of the picture. A mere cohesion of parts cannot constitute a pic ture such as fine art demands. The picture must be pervaded with a unity of character; and this can only be effected by the parts having some constructive relation to each other— something of the nature of what we call a “family like ness.” For instance ; if there be one shape of curve in one direction, there must be another shape of curve in another direction ; or if there be a wedge-shaped hill in one direction, there must be a wedge-shape of hill, wood, or water in some other direction, and so on. In short, the chief features must, more or less, in some way be repeated in other features, which are yet different, just as the leading idea in music is reflected in varied modifications as the theme progresses. This likeness in unlikeness may be strongly pronounced or merely indicated, but it is essential to completeness, especi ally in pictures of wide design. Even in colour there is trace of this rule, however veiled in the interblending of its tints and tones. Let a slant of sunshine fall on a rumpled piece of crimson velvet, and in the variety of its splendour you will find also the charm of likeness in unlikeness. In fact, this rule pervades alike philosophy, science, and art— I being founded on that faculty which reasons by analogy— which compares resemblances and differences, and so recog nises what feature of unity exists throughout the wide king dom of diversified objects. “ The child is father of the man;’’and what the one experiences in the tragedy of “ Cock Robin ’’ the other experiences in all that makes up the drama of life—the delight of finding in different things somewhat of the attribute of one in the individuality of another. Variety.—This rule has especial exhibition in music. Monotony in certain cases, such as in vast extent of blue sky, boundless calmness of sea, or loneliness of desert is sublime, and it is effective when introduced by the rare hand of a master in a limited manner in music. But the characteristic of music is variety in all grades of high and low, fast and slow, loud and subdued. By this perpetually-complicated variety music has in some respects a greater command of our emotional being than the other fine arts have. Poetry and painting, by their mediums of idea and incident, attract the mind somewhat to the suggestive ; but tone, and medium of music, does not interrupt the mind in being wholly receptive- Responding to the variety of complicated cadences, our being is carried into the universe of emotion. In like manner variety is effective in a picture, though in a much more limited way. Music passes us like a panorama—now one thing and then another ; but the picture is stationary, and must keep strictly before us its dominant characteristic. Consistent with this, the more variety it introduces the more will the picture gain in emotive power ; but variety should be employed only as subsidiary to the general effect. Undue variety is the destruction of a picture. Contrast.—The power of contrast is, of course, in propor tion as the two opposites brought in contact are more or less extreme. After the lull that precedes a storm the sudden crash of thunder is sublime. In a much more modified degree, a grand effect is produced when a subdued strain is followed
- Aktuelle Seite (TXT)
- METS Datei (XML)
- IIIF Manifest (JSON)