168

THE AUSTRALIAN PHOTOGRAPHIC JOURNAL

July 20, 1896.

it does away with the inking up of the print, the wearisome washing of the print, the delicate development of the print, and the difficult transfer.

For three-colour printing the following may be used as a filter for the blue negative:—

Chloroform .. .. .. ioo parts.

Turmeric ...................15 >>

Dragon’s blood............... 1 part.

The solution is allowed to stand for twenty-four hours, and then filtered.

This process may also be used for printing from negatives in the ordinary way, and by substituting other light-sensitive resins, such as asphalt, guiacum, dragon’s blood, and so on, various shades may be obtained.

Local Development.—Sometimes, in an otherwise bright picture, we may have one part of non-actinic colour or a very poorly lighted, e.g., interior of cottage seen through open door. It is desired to accentnate the development of this part without affecting the rest of the plate This may be done: (1) By tilting the dish so that the developer acts more on one part than another, but no part must be allowed to dry during development. The part to be kept back may be moistened with soft brush and clean water. (2) By the application, by means of a soft brush, of concentrated and slightly warmed developer. (3) By rubbing the part with the tip of a warm finger. (4) Roll up a small tube of paper and gently breathe through it warm breath upon the part to be stimulated.



SCIENCE \HT.

(A Ballad of Contentional Camerists.)

Two friends—I'll call them A. and B. for purposes of reference—

Resided at a spot some'fifteen miles from town or thereabouts;

Their tastes were somewhat different, as A. displayed a preference

For studies scientific—things that B. did not much care about.

The latter’s fond pursuit was art, and though his friend detested it,

He kept his own opinions and maintained a perfect right to them.

But still they lived in peace until—I don’t know what suggested it—

Photography became a source of mutual delight to them.

When first they took the subject up they worked with zeal untiring,

As students do when striving for some honour academical ;

A. took the chance to satisfy his intellect inquiring,

Whilst B. suppressed his horror for investigations chemical.

For many months they lived in a preoccupied and pensive way ;

Until of matters technical each one a perfect master was;

But when they started practice in a rather more extensive way,

Their difference of character a cause of great disaster was.

For A. portrayed the landscape with a scientist’sveracity.

And chiefly in the summer and in sunshine that was tropical;

He stopped his lenses down to quite their minimum capacity,

And turned out prints remarkable for detail microscopical.

But B. abhorred such work as this, and shuddered when it came in view ;

Values of light and shade were worth far more to him than focal ones;

He sent to exhibitions that had some artistic aim in view,

The Salon and the Royal—not to mention all the local ones.

Now A. was vexed with B.’s success, and cried, " Upon my word it is

Too bad to play with science, and to treat it in this silly way ;

What merit can there be in photographical absurdities

Like those that you exhibit in the place down Piccadilly way ?”

“Your methods,’’ B. observed, “ are good, but mine are more artistical,

Experience has taught me they inevitably fewer rile;

To natural effect your work is quite antagonistical,

I find it somewhat wearying and just a trifle puerile!”

“I can’t imagine,” A. exclaimed, “ whatever you think beautiful

In smudges that excite my wrath and epithets censorial !”

“I’m sorry,” B. remarked, “but with an admiration, dutiful,

I try and render Nature in a guise that is pictorial;

I recognize your cleverness and technical facility,

Although you show a painful lack of knowledge compositional,

And focus so absurdly sharp—which I think imbecility—

Can’t elevate your prints to any standard exhibitional !”

So they argued, while their talk grew faster and more furious,

Till presently they parted with expressions of ferocity,

And now they never speak, and people point them out as curious

Examples of remarkably enduring animosity.

Percy Greenbank, in

The Amateur Photographer.

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Le texte affiché peut comporter un certain nombre d'erreurs. En effet, le mode texte de ce document a été généré de façon automatique par un programme de reconnaissance optique de caractères (OCR). Le taux de reconnaissance estimé pour cette page est de 98,88 %.

La langue de reconnaissance de l'OCR est l'Anglais.

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