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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. 1146, August 20, 1880
- Digitalisat
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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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Avgust 20, 1880. | THE PHOTOGRAPHIC NEWS. 405 opics of the Zag. THE PANEL PORTRAIT. BY GILBERT FANE. ' In my last paper I spoke of “ motive ” in photographic pictures, and laid particular stress on two points ; to wit, that all pictures should have a distinct motive, and that the motive should be one well within the capacity of photo graphy to pourtray. I said that as the camera requires the model to be momentarily still to get a good picture, the motive chosen should be one that also enjoins momentary stillness. Obviously, therefore, the choice of subjects for the camera is more limited than those of the painter, for the painter can render all the photographer does, and more besides. At the same time, there are plenty of motives for pictures at the disposal of the photographer if he can only think of them. Eejlander’s study of a boy “ catching a bluebottle,” as well as the companion picture, “caught,” are two exceed ingly good examples. The animation of the face is perfect in the first of these; although the boy with his hand stretched out against the wall ready to strike is still as a cat watching a mouse, his countenance is full of life and expression. In “ caught,” one cannot see the boy’s face so well, for he is looking down examining his captive ; but the motive is here, in accordance with the requisites of photo graphy, and the result, in consequence, a happy picture. But under ordinary circumstances the photographer can not always fulfil the conditions necessary to the taking of a perfect picture; if he is a portraitist and has but half an hour or even less to devote to a sitter, it is impossible for him to do all he wishes. And when we cannot do as well as we wish, says an old proverb, we must do as well as we can. So photographers, I think, would do wisely, when they have to take portraits quickly, to confine themselves to depicting the sitter, and eschew the surroundings as much as possible. This brings me to my subject, the panel portrait, or pro menade portrait, as 1 think it is indifferently called. Mr. Editor has sent mo a numerous series of these slender and elegantly-mounted prints for inspection, and I must say that they embody much that is artistic. Moreover, they seem to me to be in keeping with the photographer’s work. While the form is pleasing, and there is space enough for an excellent portrait, little else but the model is to be seen ; and this, 1 take it, is desirable. A man or woman desires a representation of his or herself, and does not want a lot of furniture besides. In the squarer form of pictures, there is in the case of standing figures always space to spare, and this space is frequently tilled in with furniture and aoces- sories. If these are not too prolific, and taste has been exercised in their selection and position, the effect, no doubt, is not displeasing; but, unfortunately, in most of the por traits that I have seen, the photographer appears to have been quite as anxious to exhibit his stock of furniture as his skill in posing. It is a difficult matter to fill in detail in a picture, and photographers, 1 have said, never have much time at their disposal, even when they possess the art knowledge. Again, I have a fault to find with the furniture generally employed by photographers. In the first place, it rarely looks real; and secondly, it is often too new and shining to appear artistic. There is one combination of chair and sofa that is my especial abomination ; it is an article one meets with in the studio, and nowhere else. The “ prie-dieu ” may be very well in a Roman Catholic country, but it is rarely to be met with in private houses in this country ; and yet, if we are to believe the photographer, every other lady in the land is posed on it. It seems to mo to be the photo grapher’s aim to render his furniture as if it came from the Veneering household, spic-and-span new, and so highly varnished as to bo almost sticky. The days are fortunately past when the broken marble column was represented on a piece of stair-carpeting ; I hope that ero long we shall have seen the last of the collections of bright furniture that many photographs now contain. It is mainly, I believe, because of my aversion to over doing it, both in the quantity and quality of the accessories, than for any other reason, that I am in favour of the panel portrait; still, there is something classic in one or two of the pictures I havo received. Panels in some of our old painted windows are not unlike, in their proportions, to these new pictures, and if the models are suitable and well posed, the result is pleasing indeed. A lady in flowing robes, with figure half turned, is a particularly charming subject in oneof my pictures; and another study—a slim little maid reaching up to a bird cage—is hardly less successful. The Topic for next week will be “ Developing in Day light,” by Jabez Hughes. ■■o— THE PREPARATION OF GELATINE-BROMIDE. BY M. BASCHIER.* I first dissolve in the water-bath, heated by a nightlight,— Water ... 275 parts Nelson’s No. 1. gelatine 30 „ Bromide of ammonium 7 ,, „ ,, zinc 1 part Generally, sufficient importance is not attached to the soluble bromide employed. That of ammonium gives very good results, but the negatives are often grey ; it is to avoid this inconvenience that I add the bromide of zinc, which gives sharp and brilliant images. Bromide of lithium causes the film to adhere firmly. While the preceding solution is in operation I prepare that of nitrate of silver: Water 50 parts Nitrate of silver 12 ,, After mixing both, I leave them in the water-bath for three days. At the end of that time I pour the whole into a flat dish to set in a cool place; in summer, ice is some times necessary. The gelatine, having set, is squeezed in a coarse cloth, and the shreds thus produced are plunged into a basin of cold water. I pour them on a sieve, by the aid of which I steep them in water several times renewed. I leave them to drain for a quarter of an hour, then wash in methylated spirits until the fragments become hard. They are then spread over a glass previously waxed and allowed to dry thoroughly, which takes about twenty hours. This dried emulsion is kept in cardboard boxes. In using, I dissolve it in water slightly alkaline in the proportion of 1 :10, and spread it by means of a glass rod on plates previously coated with a 4 per cent, solution of white of egg to which sufficient chrome alum has been added to give it a bluish tinge. This substratum has great adhering properties. The dry plates are packed up, and may be preserved for a long time away from the light and damp. The ex posure is very quick; for landscapes I recommend a shutter which allows the foreground to act longer than the rest upon the plate. Either the ferrous oxalate or the ordinary alkaline developer may be used. To intensify, I employ the two following baths :—First, A.—Water 50 parts Bichloride of mercury 1 part Bromide of ammonium 1 ,, afterwards, B.—Water 50 parts Nitrate of silver 1 part Cyanide of potassium (pure) ... 1 » This last may be replaced by a five per cent, solution of ammonia. If, on the contrary, the negative requires to be reduced, * Bead before the Photographic Society of France.
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