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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. 1153, October 8, 1880
- Digitalisat
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Zeitschrift
The photographic news
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Band
Band 24.1880
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- Register Index 631
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Band
Band 24.1880
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[October 8, 1880. THE PHOTOGRAPHIC NEWS. 484 It is now some years since I first read a paper on the use of the actinometer in connection with exposures out ot doors, and it is satisfactory to know that their use has since then largely i increased ; but still they are either misunderstood or under valued, and at the risk of repeating much of what was then written, I would wish again to call attention to the great advan tage gained by the use of one of these little instruments, and to show how simple is their practice. When the Autotype Company’s actinometer is exposed to the sun at the same time that the trial plate showing six seconds for f, as above is done, we get a tint—that is, the sensitive paper darkens to the same shade as the surrounding paint—in thirty seconds. Now, supposing, on a dull day, you try the actinometer and get a tint in four minutee, you must multiply your calculated exposures by eight, because It takes eight times as long to get one tint on this day as it did on the day when those figures or calculations were made. If it takes twenty times as long—say ten minutes—then multiply by twenty, and so on, and you get the right exposure for that day and hour. Nothing is easier. The tinting can go on while you aro fixing the camera and focussing, and no time need bo lost. The other day a friend and I went nearly a hundred miles for a day’s out. The subjects chosen were overhung with trees, and the sun shining brightly overhead. My friend (an old hand) thought he would have to give a long exposure, and gave twenty times longer than usual. I used the actinometer, and got one tint in fifty minutes, showing that 8% of the light was stopped by the trees in this glen. Was tbe time lost in the calculation? I think not, for I brought home twelve good pictures. I must repeat that the actinometer does not relieve you of the necessity of using judgment; it simply tells you the strength of the light, but does not supply the place of brains. There are many other conditions necessary to be studied, viz., colour, distance, position, &c. Here it is that experience only will help. I would respectfully offer a suggestion to makers of lenses. They make thousands, and one calculation would save the trouble of the thousands who buy them if they would mark on the stops their aperture and its value, as I have mentioned above—so easy to them, but so difficult to many to whom optics is a science unknown. And yet another suggestion :—Instead of makers of dry plates stating that these plates are five, or ten, or thirty, times as quick as wet plates (there are many who have never touched a wet plate in their lives), let all sensitiveness be stated definitely, thus:—Our plates, witha compound lens %, require an exposure of 14 second in summer, midday, sunlight, or any other such standard as they may deem proper. This would put a stop to those vague statements which nobody understands. Wet plates vary almost as much as dry plates, and ought not to be used as a standard. There is nothing new in anything I have said, but there are many to whom I know these notes will be useful if taken advan tage of ; and this is my only apology for a twice-told tale. PRESS NOTICES OF THE PHOTOGRAPHIC EXHIBITION. [From the DALY News.] By way of taking note of progress made in photographic art, the president and council of this Society annually bring together in the rooms of the Society of Painters in Water Colours a con siderable collection of the choicest works of the past year. The current Exhibition was opened on Saturday evening, when Mr. Glaisher, F.R.S., president, and several of the leading members of the council, received at a soiree a large company of ladies and gentlemen who had been invited to see the pictures. Walls and screens were hung with exhibits, ranging over the principal classes of photographic production. Enlarged works perfected by the Woodbury and Autotype processes were naturally the most conspicuous, notably a full-length portrait of Mr. Gladstone, from a painting by Girandot, a "speaking likeness” of Lord Cairns, and a statuesque representation of the late King of Siam, with surroundings of Oriental state. Full-sized portraits of Sarah Bernhardt, faultlessly executed by Messrs. Downey, and a small gallery of other feminine celebrities from the same studio, were not the least attractive and interesting of the exhibits. These, however, though of the highest class of photographic por ¬ traiture, claimed no exceptional rank. Perhaps the very newest marvel of the art was a set of scenes by Messrs. Marsh, 'repre senting swans on the Thames at Henley. It is scarcely too much to say that, from a realistic point of view, these pictures are very near perfection, a fact that is to be attributed to the marvellous rapidity with which the artist secured his subject. Not mere than the hundredth part of a second of the action of light was brought into play to obtain a representation of water that seems to flow and swans that appear to glide. Gems equally artistic, representing yachts in motion off Woolwich, also taken by the instantaneous process, are shown by Mr. Mayland. Similarly striking results have been obtained by G. J. Paget in views of passing trains, J. II. Ritchie with ships, and G. W. Williams with scenes on Ramsgate and Margate sands. At first glance these objects appear to have been taken motionless, but on a moment’s inspection the observer will see from the ripple that the ships have “ way ” on, and from the steam of the engines that the trains are travelling. Results such as these are due to the recent adaptation of gelatine as a substitute for the old collo dion processes. In operations by the latter wet-plate system a second or two, more or less, of exposure was of little conse quence. In the new dry process a minute fraction of a second may spoil the picture. Science and invention have come to the rescue in Cadctt’s instantaneous shutter, by which clever apparatus, worked pneu matically, by slight pressure of the thumb and finger, the expo sure can be regulated to the one-hundredth part of a second. A companion invention is the Warnerke actinometer, a small cir cular box, after the fashion of an aneroid barometer, containing a phosphorescent wafer, which, when obscured by successive re volving layers of a thin gelatinous preparation, indicates the exact strength of the prevailing light. While these were some of the most recent developments, visitors found in almost every one of the exhibits fresh and varied interest. lu “ Maiden Medi tation Fancy Free,” and similar artistic scenes from nature, Mr. H. P. Robinson, of Tunbridge Wells, represents a class of art going considerably beyond mere statuesque reproduction. It is scarcely necessary to mention Mr. Vernon Heath’s trees, ferns, and landscapes, nor to remark upon the many excellent archi tectural scenes, notably those of Old Bristol, by W. Harvey Bar ton, and the interior of Chester Cathedral, by Silvester Parry. Medallists of the year are :—W. Mayland, W. H. Barton, Sey- 1 mour Conway, Marsh Bros., T. G. Whaite, A. Pringle, II. P. Robinson, Silvester Parry, the Berlin Photographic Company, and the Platinotype Company. [From the Times], The annnal exhibition of the works of the photographers, which is now open at the Gallery of the Society of Painters in Water Colours in Pall Mall East, affords a very interesting display in the various branches to which photography is now being use fully practised—in portraiture, landscape, seascape, cloudscape, architectural views, large assemblies and moving crowds, wild animals, rare plants and flowers, machinery, and such compli cated scenes as tbe Tay Bridge ruins, or anything, in fact, which in its wild complexity defies the power of the artist’s eye and hand to represent, In portraiture, which is unquestionably the most universal, and perhaps the most valuable, of the appli cations of photography, there seems to be some considerable advance to be noticed, particularly in the pictures of children. As the most beautiful of children are apt to be the very worst sitters, the painter rarely succeeds in catching those fleeting graces of air and look that give such charm to the child port raits of Sir Joshua and Gainsborough. But what the photo grapher may lack in the rarest gift of the painter he supplies with wonderful success by the appliances of his art. I lis plate has now been made so “ sensitive ” that in tbe fraction of a second the portrait is stamped upon it; and such is the perfec tion of the moans which chemical science has brought to his hand, that the difficulty is bow to work up to such a point of nicety in manipulation—how to avoid too long exposure. Here, again, be has been helped by science ; bis camera is provided with an “ instantaneous view shutter,” which acts by means of a long pneumatic tube with a common elastic bulb at the end, so that the camera can bo opened or closed either slowly or with rapidity, and this at a distance of many yards from the appara tus, according tea scale by which the spring of the instrument is set. Thus the photographic portraitist can, if he pleases, attract the attention of the most fidgetty child by playing with it, and seize the right moment to take a sort of flying shot at the
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