The History and Practice of the Art of Photography [16]
Good pictures may be taken without the sky-light, but not the most pleasing or effective.
A very important point to be observed, is to keep the camera perfectly free from dust. The operator should be careful to see that the slightest particle be removed, for the act of inserting the plate-holder will set it in motion, if left, and cause those little black spots on the plate, by which an otherwise good picture is spoiled. The camera should be so placed as to prevent the sun shining into the lenses.
In taking portraits, the conformation of the sitter should be minutely studied to enable you to place her or him in a position the most graceful and easy to be obtained. The eyes should be fixed on some object a little above the camera, and to one side--but never into, or on the instrument, as some direct; the latter generally gives a fixed, silly, staring, scowling or painful expression to the face. Care should also be taken, that the hands and feet, in whatever position, are not too forward or back ward from the face when that is in good focus
If any large surface of white is present, such as the shirt front, or lady's handkerchief, a piece of dark cloth (a temporary bosom of nankeen is best,) may be put over it, but quickly withdrawn when the process is about two thirds finished.
A very pleasing effect is given to portraits, by introducing, behind the sitter, an engraving or other picture--if a painting, avoid those in which warm and glowing tints predominate. The subject of these pictures may be applicable to the taste or occupation of the person whose portrait you are taking. This adds much to the interest of the picture, which is otherwise frequently dull, cold and inanimate.
Mr. J. H. Whitehurst of Richmond, Va., has introduced a revolving background, which is set in motion during the operation, and produces a distinctness and boldness in the image not otherwise to be obtained. The effect upon the background of the plate is equally pleasing; it having the appearance of a beautifully clouded sky.
In practising Photographic drawing on paper, the student must bear in mind that it is positively essential, to secure success in the various processes, to use the utmost precaution in spreading the solutions, and washes from the combination of which the sensitive surfaces result. The same brush should always be used for the same solution, and never used for any other, and always washed in clean water after having been employed. Any metalic mounting on the brushes should be avoided, as the metal precipitates the silver from its solution. The brushes should be made of camels or badger's hair and sufficiently broad and large to cover the paper in two or three sweeps; for if small ones be employed, many strokes must be given, which leave corresponding streaks that will become visible when submitted to light, and spoil the picture.
These few preliminary hints and suggestions, will, I trust, be of some service to all who adopt this pleasing art as a profession; and will, with a due attention to the directions given in the practical working of the Daguerreotype, Calotype, etc., ensure a corresponding measure of success.
CHAP. V.
DAGUERREOTYPE APPARATUS.
The entire Daguerreotype process is comprised in seven distinct operations; viz:
1.--Cleaning and polishing the plate.
2.--Applying the sensitive coating.
3--Submitting the plate to the action of light in the camera.
4.--Bringing out the picture; in other words rendering it visible.
5.--Fixing the image, or making it perminent--so that the light may no longer act upon it.
6.--Gilding: or covering the picture with a thin film of gold-- which not only protects it, but greatly improves its distinctness and tone of color.
7.--Coloring the picture.
For these various operations the following articles-- which make up the entire apparatus of a Daguerrean artist-- must be procured
1.--THE CAMERA.--(Fig. 5.). The Camera Obscura of the Italian philosophers, although highly appreciated, on account of the magical character of the pictures
A very important point to be observed, is to keep the camera perfectly free from dust. The operator should be careful to see that the slightest particle be removed, for the act of inserting the plate-holder will set it in motion, if left, and cause those little black spots on the plate, by which an otherwise good picture is spoiled. The camera should be so placed as to prevent the sun shining into the lenses.
In taking portraits, the conformation of the sitter should be minutely studied to enable you to place her or him in a position the most graceful and easy to be obtained. The eyes should be fixed on some object a little above the camera, and to one side--but never into, or on the instrument, as some direct; the latter generally gives a fixed, silly, staring, scowling or painful expression to the face. Care should also be taken, that the hands and feet, in whatever position, are not too forward or back ward from the face when that is in good focus
If any large surface of white is present, such as the shirt front, or lady's handkerchief, a piece of dark cloth (a temporary bosom of nankeen is best,) may be put over it, but quickly withdrawn when the process is about two thirds finished.
A very pleasing effect is given to portraits, by introducing, behind the sitter, an engraving or other picture--if a painting, avoid those in which warm and glowing tints predominate. The subject of these pictures may be applicable to the taste or occupation of the person whose portrait you are taking. This adds much to the interest of the picture, which is otherwise frequently dull, cold and inanimate.
Mr. J. H. Whitehurst of Richmond, Va., has introduced a revolving background, which is set in motion during the operation, and produces a distinctness and boldness in the image not otherwise to be obtained. The effect upon the background of the plate is equally pleasing; it having the appearance of a beautifully clouded sky.
In practising Photographic drawing on paper, the student must bear in mind that it is positively essential, to secure success in the various processes, to use the utmost precaution in spreading the solutions, and washes from the combination of which the sensitive surfaces result. The same brush should always be used for the same solution, and never used for any other, and always washed in clean water after having been employed. Any metalic mounting on the brushes should be avoided, as the metal precipitates the silver from its solution. The brushes should be made of camels or badger's hair and sufficiently broad and large to cover the paper in two or three sweeps; for if small ones be employed, many strokes must be given, which leave corresponding streaks that will become visible when submitted to light, and spoil the picture.
These few preliminary hints and suggestions, will, I trust, be of some service to all who adopt this pleasing art as a profession; and will, with a due attention to the directions given in the practical working of the Daguerreotype, Calotype, etc., ensure a corresponding measure of success.
CHAP. V.
DAGUERREOTYPE APPARATUS.
The entire Daguerreotype process is comprised in seven distinct operations; viz:
1.--Cleaning and polishing the plate.
2.--Applying the sensitive coating.
3--Submitting the plate to the action of light in the camera.
4.--Bringing out the picture; in other words rendering it visible.
5.--Fixing the image, or making it perminent--so that the light may no longer act upon it.
6.--Gilding: or covering the picture with a thin film of gold-- which not only protects it, but greatly improves its distinctness and tone of color.
7.--Coloring the picture.
For these various operations the following articles-- which make up the entire apparatus of a Daguerrean artist-- must be procured
1.--THE CAMERA.--(Fig. 5.). The Camera Obscura of the Italian philosophers, although highly appreciated, on account of the magical character of the pictures