DOI Heft:
No. 13 (April, 1894)
DOI Artikel:M., A.: On some methods of suppression and modification in pictorial photography
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17190#0027
Suppression aud Modification in Photography
trative of the remarks which have been made. It off where a simple laving would not dissolve it, and
may be as well first to explain briefly his process, retained on the paper where found desirable. The
which consists in the resuscitation of a simple but excellent effect will be noted in the treatment of
l°ng forgotten method which was abandoned per- the group of figures on the opposite page. Of
haps for the very qualities, then considered as this group the lens would probably have seen
defective, which will recommend it to many to-day. and recorded more than, under the conditions of
It is one of the early forms of impression depending lighting, the sentiment of the picture and the
on the property which renders bichromated gelatine feeling of the artist demanded. For skies and
msoluble when exposed to light, and has since water the method will also be found of value in
developed into what is now known as the carbon many ways which cannot be entered into here.
A PH0T0GKAPH FROM LIFE BY T- CRAIG ANNAN
or autotype process. The paper having been The analogy between this process and a welt
sensitised with a simple pigmented solution of known graphic one which is sometimes practised,
bichromate of potash mixed with gelatine and ex- viz., the blackening of paper or other surfaces with
posed under a negative, is developed by dissolving the smoke of a candle and then picking out the
out in hot water the parts unaffected by the action lights, will at once occur, and even mezzotinting
°f light. Monsieur Ladeveze, however, uses a may be said to be akin to it.
powerful spray of water under high pressure, and In Mr. Craig Annan's pictures, the artist follows
by this means a large facility is given to him of a different plan. He simply carries to greater
dealing with the pigment to be washed away so as lengths than is usually practised a process of
to produce various effects. The nozzle of the stopping out on the back of the negative the details
spray can in fact be used after the manner of the which he wishes to modify or to suppress. Here,
air-brush and the pigment may even be driven again, the artist hand is of first importance. Note
15
trative of the remarks which have been made. It off where a simple laving would not dissolve it, and
may be as well first to explain briefly his process, retained on the paper where found desirable. The
which consists in the resuscitation of a simple but excellent effect will be noted in the treatment of
l°ng forgotten method which was abandoned per- the group of figures on the opposite page. Of
haps for the very qualities, then considered as this group the lens would probably have seen
defective, which will recommend it to many to-day. and recorded more than, under the conditions of
It is one of the early forms of impression depending lighting, the sentiment of the picture and the
on the property which renders bichromated gelatine feeling of the artist demanded. For skies and
msoluble when exposed to light, and has since water the method will also be found of value in
developed into what is now known as the carbon many ways which cannot be entered into here.
A PH0T0GKAPH FROM LIFE BY T- CRAIG ANNAN
or autotype process. The paper having been The analogy between this process and a welt
sensitised with a simple pigmented solution of known graphic one which is sometimes practised,
bichromate of potash mixed with gelatine and ex- viz., the blackening of paper or other surfaces with
posed under a negative, is developed by dissolving the smoke of a candle and then picking out the
out in hot water the parts unaffected by the action lights, will at once occur, and even mezzotinting
°f light. Monsieur Ladeveze, however, uses a may be said to be akin to it.
powerful spray of water under high pressure, and In Mr. Craig Annan's pictures, the artist follows
by this means a large facility is given to him of a different plan. He simply carries to greater
dealing with the pigment to be washed away so as lengths than is usually practised a process of
to produce various effects. The nozzle of the stopping out on the back of the negative the details
spray can in fact be used after the manner of the which he wishes to modify or to suppress. Here,
air-brush and the pigment may even be driven again, the artist hand is of first importance. Note
15