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The photographic news
- Bandzählung
- 24.1880
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- 1880
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- Bandzählung
- No. 1151, September 24, 1880
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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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464 According to Vogel, solutions of gelatine in organic acids may be diluted with alcohol without any precipitation of gelatine. Obernetter has gone a step further, and discovered that the acids most favourable to the purpose are boracic acid, acetic acid, formic acid, citric acid, lactic acid, oxalic acid, succinic acid, benzoic acid, &c. A ten per cent- aqueous solution of oxalic acid or succinic acid easily dis solves half its weight of gelatine, we are told, and this may then be diluted with three times its volume of absolute alcohol, without any precipitation taking place. In this way a solution is obtained which, at a temperature of 19" C., is of the consistence of ordinary collodion ; but below this temperature the mixture sets. The solution may, indeed, be still further diluted with eighty per cent, of alcohol, sup posing this contains one or two per cent, of acid. Another fact of interest to employers of emulsion may be cited. If dry gelatine emulsion is dissolved in twice its weight of water containing one of these organic acids, and three volumes of absolute alcohol are then added, an alco holic gelatine emulsion is obtained, which pours like collo dion, and dries in the space of an hour. The film, too, works with the same sensitiveness and clearness as if the emulsion had simply been dissolved in water. In a word, it may be said that the organic acids do not influence the sensitiveness of gelatine emulsion in the least degree. On the other hand, Herschell’s plan of getting alcohol to dissolve gelatine by the addition of aqua-regia (nitro-hydrochloric acid) very materially interferes with the photographic properties of bromide of silver. We were remarking the other day to a Cambridge photo grapher on the flatness of the country around the University town. “ Yes, it is flat,” he said ; “ if you take a point in this direction, straight across by those farm buildings there, they say you never get to a bit of rising ground until you come to the Ural Mountains.’’ Oopics Ilf the Jay. LIGHTING THE MODEL. BY LYDDELL SAWYER. I have just lately read Mr. H. P. Robinson’s “ Pictorial Effect,” and I am enchanted with his lucid and earnest style of expounding art. Mr. Robinson’s little book is a gently-sloping pathway, leading the student in easy stages up to the principles of art, yet it avowedly treats of the principles only, leaving details to be supplied by ourselves. Hence my essay. There are only two classes of lighting which the photo grapher has to deal with in the studio : these are general or ordinary, and so-called “ Rembrandt ” lighting ; all others are only modifications of the above. As a rule, the aim in an ordinarily-lighted photograph is to obtain a gently-diffused middle tone over the face with tips of somewhat concentrated twilight on the prominent features, forming a true descending scale from the broad pure whites of the forehead to the minor whites about the [September 24, 1880. chin, while the off side of the face forms a connecting link between the half-tones and the shadows. Now, to obtain this light, the natural inclination—and, indeed, what I have known some photographers practise—is to keep the sitters back, and to draw the curtains from behind well forward, the operator contending that this will cast shade enough over the necessary parts of the face, and still give the prominences a chance of retaining a greater proportion of high-light. But this course is entirely erroneous—exactly contrary to what should be adopted. What is wanted is to work under ground or otherwise obscured glass, which yields soft diffusion, and prevents alike harshness of top-light or shadow; the sitter may be brought directly under the skylight, and the forward curtains drawn to meet him—not the back ones, unless it is only a small side curtain, used at the discretion of the operator for the purpose of soften ing the cheek and neck. Very little consideration of the laws of perspective will prove how, by bringing the subject so forward, the horizon being above his level, of necessity rises further, and ex cludes more light from the most readily-shaded portions of the face. I would also recommend the use of a long sloping roof (one sided) rising from about six and a-half to eleven feet; this gives further power to the operator to increase or diminish the concentration of light according to what I may call the lateral placement of the sitter. A white cotton reflector may be added to the requisites for these arrangements, and then the operator has the power of general lighting in a nut shell. Yet, simple as it may seem, he will find it as injurious in its abuse as it is bene ficial in its judicious use. For instance, it would not answer for cases of deep set eyes, or freckles, which require a broad amount of front light and full exposure. Apropos of sun-tanning, there is a particular I have noticed which in practice, as sometimes is the case, somewhat contra dicts theory. It is, of course, averred that the orange rays of light are non-actinic, or almost so, and hence these yellow markings in the face are not grasped in the photographic image ; but I believe that the portion, or principal part of it, which is visible to the eye, yet invisible in the subsequent photograph, is not lost, but merely transferred to the imme diately adjacent lights. Therefore, these same lights have more than their relative value, and when the retoucher fills up the freckles to be even with their surroundings they must undoubtedly be out of tune. Rembrandt lighting is, as a term, a misnomer, inasmuch as the painter of that name was peculiar for his bold rendering of lights and shades in all positions of his subjects, sometimes limited to a single ray of light, as in his Jewish Rabbi, or again utilizing greater breadth, as exemplified in the portrait of himself. But our acceptance of the term “ Rembrandt” is only in the limited sense of profile heads lighted strongly on the outline, and the remaining portions of the face in strong middle-tint and shadow. In the hands of a capable photographer this is a very pleasing class of portraiture with certain subjects ; notably, young ladies with a profusion of loose hair, or men with flowing beards on which the high lights may be repeated in a lesser tone, thus preserving balance in the picture, and forming a more complete unity with the shadows. The use of draperies of a neutral colour is advisable in Rembrandt pictures ; if light, they should be of flimsy open texture, such as muslin or otherwise, at least with some indis tinct pattern. Black clothes should, when possible, be avoided, it being generally beyond the tention of the chemicals to truthfully pourtray, at once, the delicacies of the facial tones, and the heavier details in dark draperies. The best position for obtaining Rembrandt lighting is to advance the subject well into the centre of the studio, and to work from a diagonal point, or, in other words, to use as much the breadth as the length of the room. The. back ground should be opposed to the sky, and the sitter just so far from the edge of it as to prevent the skylight from Peer- THE PHOTOGRAPHIC NEWS.
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