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The photographic news
- Bandzählung
- 24.1880
- Erscheinungsdatum
- 1880
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- Englisch
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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. 1135, June 4, 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
Band 24.1880
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June 4, 1880.] THE PHOTOGRAPHIC NEWS. factory effects; black, dark grey, green, yellow, chestnut, and brown, are good photographic colours.” M. Joliot admitted, however, when we referred to the subject of drapery, that the ideas of photographers bad of late years undergone a vast change, and that many colours that were formerly regarded by the photographer with dis like, are now chosen in order to secure effect. To produce the best result upon a dark background, as in the case of his favourite style, there was nothing equal to “ une laine claire ” (a light merino or cashmere) ; and even colours like blue were not to be despised, since they were reproduced of a light tint, without the glare which white material shows if not carefully handled. Silk was very agreeable in a photograph, but was not rendered so well as woollen fabric. M. Joliot’s studio is exceedingly roomy. The dressing apartments open almost immediately into the studio, and further on is the laboratory. The studio is divided into two by a huge canopy, under which the cameras stand ; the latter are thus capable of being directed to one end of the studio, or the other. One portion of the studio is devoted to the sole production of the vignetted portraits on a black ground. Here there is but a single background, of a dark red, so dark that it scarcely appears red at all. To produce the Carte Russe, the sitter is placed some eight feet from this background, so as to permit plenty of side light to intervene between it and the model, the result of which is that the finished portrait has something of a Rembrandt look, the features rounded, and standing out well in relief. On’the shadow side of the sitter either white or blue curtains are arranged, to reflect back the light, and not to permit too much shade on this side of the face. A negative taken under these circumstances does not require to be manipu lated at all so far as face and shoulders are concerned, since these stand out boldly from the black ground when the negative is printed ; but some little skill is necessary to cut off the bust and print the paper black below the portrait. But this printing is of a “fond degrade,” M. Joliot assured us, is a matter soon got over with a little practice, and it is altogether a subject of secondary consideration. A final darkening round the margin of the print finishes the picture. Portraits produced in this way, especially of ladies in light summer or ball-room dress, are exceedingly effective. At the other end of the studio ordinary portraits are taken. M. Joliot employs Seavey’s backgrounds. “ No doubt our Paris artists could paint them as well, if they gave themselves the trouble, but they won’t, and hence we have to go to America.” M. Joliot does not stretch his backgrounds or hang them on rollers. There are half-a- dozen wires running across the studio at the end, and the backgrounds, provided with hooks, hang upon these ; they are slidden backwards and forwards, into position, or out of it, according to the whim of the photographer. The lighting is from the north, and there is so much of it that in summer weather blue blinds have to be exchanged for white ; there is but a foot of wainscoting, the side being of clear glass, and the sloping roof of ground glass. The laboratory is in two compartments, the one for coating and sensitizing plates, and the other for developing. Every thing here was in apple-pie order. M. Joliot employs the vertical dipping bath, and puts in a good plea for its use. Ho can cool or warm his baths with very little trouble. His bath frame has three compartments, into which you can fit three baths if you like, the baths fitting very loosely into the compartments; bo, however, only puts two glass baths into them, leaving the centre compartment empty, and it is by means of this centre compartment that he maintains his bath solution at any temperature he likes. In winter, lukewarm water may be introduced, in summertime a little ice. I he sides of the compartment being perforated, the temperature of the baths is soon lowered or increased. In this way he always works under the same conditions. As M. Joliot pointed out, it would be impossible to keep horizontal baths at an equal temperature by means of arrange ments of such a simple nature. In the developing room was another arrangement worthy of note. The developing solutions were kept in large glass barrels, standing upright in a row at the right hand of the assistant. Here were the iron, pyrogallic, and silver solu tions ready for use, the vessels provided with glass taps, underneath which stood suitable glass measures. A handle at the left hand of the assistant further provided for augmenting and lessening the light that gained admittance into the dark room, so that he could control the illumina tion at any moment, and to any degree, without moving from his place. At the Maison Lejeune the terms are: — 15 Cartes-de-Visites, plain (2 poses) ... 30 francs 15 „ vignetted ,, ... 30 „ 12 Cabinets, plain or vignetted ... ... 60 „ 15 Cartes Russes ...... 45 „ 15 ,, cabinet size 72 „ During our visit, we may mention, M. Joliot was honoured with a sitting by their Royal Highnesses the Duke and Duchess of Connaught, and our kindly host was successful in securing some very good pictures of the newly-married pair, albeit M. Joliot was in sore tribulation over the Duke’s portrait on account of ses yeux Heus. The “ At Home” next week will be Mr. H. P. Robinson at Tunbridge Wells. PHOTOGRAPHIC METEOROLOGICAL OBSERVATIONS. BY H. WILSON. Mat I make very humbly, and therefore interrogatively, a suggestion? Would not the addition of the exact time of exposure to the label of each cloud negative (the process being readily ascertainable also), taken as a meteorological observation, be of great interest and utility as an index to the varying actinism of solar light in different seasons and circumstances ? Would it not offer a good means of verify ing or checking Dr. Angus Smith’s iodide of potassium observations of actinism ? I need not, of course, remind your readers that the chemical power of daylight has been pronounced to vary considerably at different seasons, and to be especially strong in spring. It has also been said that sunstroke is a chemical effect of light, and not due to heat, and that it is more frequent in the spring. Of all this it will be interesting to know more, and the observation to be undertaken will put us on the road to further knowledge. It would be interesting to know what part of the sky the Astronomer-Royal for Scotland photographed, and how it is proposed to point the objective in the observations about to be made. REMARKS ON INSTANTANEOUS SHUTTERS. BY L. WARNERKE AND J. CADETT.# The members of this Society are much indebted to Mr: Dall- meyer for bringing forward this important subject, especially as the day is not far distant when photography will depend upon very short exposures. Expecting that the appeal made by our President at the last meeting will be largely responded to, and that many different shutters will be shown, we resolved to investigate a few points relative to “ Instantaneous Shutters in General,” aided by actual experiments, which may prove of importance in the present discussion. Several forms of shutters have been in use for many years which are reputed to give very short, or so-called instantaneous exposures, but, unfortunately, the actual time of exposure has not been generally given. In consequence of the prevailing tendency to subject every fact to mathematical precision, we submitted a few shutters in our possession to practical tests, and we shall give the data and a description of our experiments. The method we adopted was as follows :—To determine the time of exposure it is necessary to have an object moving uni formly as to time, so that the space passed by the moving object * Read before the Photographic Society of Great Britain.
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