the history and practice of the art of photography-第20部分

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ne　will　make　the　experiment。

I　have　learned；　since　the　above　was　written；　that　an　operator　in　Boston　succeeded　a　short　time　since　in　procuring　very　good　pictures　by　the　aid　of　the　Drummond　Light；　but　that　the　intensity　of　the　light　falling　directly　upon　the　sitter's　face　caused　great　difficulty；　and　he　abandoned　it。　This　may；　probably；　be　remedied　by　interposing　a　screen　of　very　thin　tissue　paper　tinged　slightly　of　a　bluish　color。



CHAP。　XII。

ON　COLORING　DAGUERREOTYPES。


Nearly；　if　not　quite　all　the　various　colors　used　in　painting　may　be　made　from　the　five　primitive　colors；　black；　white；　blue；　red　and　yellow；　but　for　the　Daguerrean　artist　it　would　be　the　best　policy　to　obtain　such　as　are　required　by　their　art　already　prepared。　　In　a　majority　of　cases；　the　following　will　be　found　sufficient；　viz。

Carmine。

Prussian　Blue。

White。

Chrome　Yellow；　Gamboge；　Yellow　Ochre；　or　all　three。*

*Gamboge　is　best　for　drapery；　Ochre　for　the　face。

Light　Red。

Indigo。

Burnt　Sienna。

Bistre；　or　Burnt　Umber。

If；　in　coloring　any　part　of　a　lady's　or　gentleman's　apparel；　it　is　found　necessary　to　produce　other　tints　and　shades；　the　following　combinations　may　be　used：

OrangeMix　yellow　with　red；　making　it　darker　or　lighter　by　using　more　or　less　red。

PurpleThis　is　made　with　Prussian　blue；　or　indigo　and　red。　Carmine　and　Prussian　blue　producing　the　richest　color；　which　may　be　deepened　in　the　shadows　by　a　slight　addition　of　indigo　or　brown。

GreensPrussian　blue　and　gamboge　makes　a　very　fine　green；　which　may　be　varied　to　suit　the　taste　of　the　sitter　or　operator；　by　larger　portions　of　either；　or　by　adding　white；　burnt　sienna；　indigo；　and　red；　as　the　case　may　require。　These　combinations；　under　different　modifications；　give　almost　endless　varieties　of　green。

BrownMay　be　made　of　different　shades　of　umber；　carmine　and　lamp…black。

Neutral　tintIs　composed　of　indigo　and　lamp…black。

CrimsonMix　carmine　and　white；　deepening　the　shaded　parts　of　the　picture　with　additional　carmine。

Flesh　ColorThe　best　representative　of　flesh　color　is　light　red；　brightened　in　the　more　glowing　or　warmer　parts；　with　carmine；　softened　off　in　the　lighter　portions　with　white；　and　shaded　with　purple　and　burnt　sienna。

Lead　ColorMix　indigo　and　white　in　proportions　to　suit。

ScarletCarmine　and　light　red。

For　Jewelry　cups　of　gold　and　silver　preparations　accompany　each　box　for　Daguerreotypists；　or　may　be　procured　separately。

The　method　of　laying　colors　on　Daguerreotypes　is　one　of　considerable　difficulty；　inasmuch　as　they　are　used　in　the　form　of　perfectly　dry　impalpable　powder。　　The　author　of　this　little　work　is　now　experimenting；　in　order；　if　possible；　to　discover　some　more　easy；　artistic　and　unexceptionable　method。　If　successful；　the　result　will　be　published　in　a　future　edition。

The　rules　we　shall　give　for　coloring　Daguerreotypes　depends；　and　are　founded；　upon　those　observed　in　miniature　painting；　and　are　intended　more　as　hints　to　Daguerrean　artists；　in　hopes　of　leading　them　to　attempt　improvements；　than　as　instructions　wholly　to　be　observed。

The　writer　is　confident　that　some　compound　or　ingredient　may　yet　be　discovered　which；　when　mixed　with　the　colors；　will　give　a　more　delicate；　pleasing；　and　natural　appearance　to　the　picture　than　is　derived　from　the　present　mode　of　laying　them　on；　which　in　his　estimation　is　more　like　plastering　than　coloring。

IN　COLORING　DAGUERREOTYPES；　the　principal　shades　of　the　head　are　to　be　made　with　bistre；　mixed　with　burnt　sienna；　touching　some　places　with　a　mixture　of　carmine　and　indigo。　The　flesh　tints　are　produced　by　the　use　of　light　red；　deepened　towards　the　shaded　parts　with　yellow　ochre；　blue　and　carmine　mixed　with　indigo；　while　the　warmer；　or　more　highly　colored　parts　have　a　slight　excess　of　carmine　or　lake。　Color　the　shades　about　the　mouth　and　neck　with　yellow　ochre；　blue；　and　a　very　little　carmine；　heightening　the　color　of　the　lips　with　carmine　and　light　red；　letting　the　light　red　predominate　on　the　upper；　and　the　carmine　on　the　lower　lip；　the　shades　in　the　corner　of　the　mouth　being　touched　slightly　with　burnt　sienna；　mixed　with　carmine。

In　coloring　the　eyes；　the　artist　will　of　course　be　guided　by　nature；　observing　a　very　delicate　touch　in　laying　on　the　colors；　so　as　to　preserve　as　much　transparency　as　possible。　　A　slight　touch　of　blue　ultramarine　would　be　best　if　it　would　adhere　to　the　Daguerreotype　plate　in　the　whites　of　the　eye　near　the　iris；　will　produce　a　good　effect。

In　coloring　the　heads　of　men　it　will　be　necessary　to　use　the　darker　tints　with　more　freedom；　according　to　the　complexion　of　the　sitter。　For　women；　the　warmer　tints　should　predominate；　and　in　order　to　give　that　transparency　so　universal　with　the　softer　sex　and　which　gives　so　much　loveliness　and　beauty　to　the　face　a　little　white　may　be　judiciously　intermingled　with　the　red　tints　about　the　lighter　portions　of　the　face。

In　taking　a　picture　of　a　lady　with　light　or　auburn　hair；　by　the　Daguerrean　process；　much　of　the　beauty　of　the　face　is　destroyed；　on　account　of　the　imperfect　manner　in　which　light　conveys　the　image　of　light　objects　to　the　spectrum　of　the　camera。　This　may　be　obviated　in　some　measure　by　proper　coloring。　To　do　this；　touch　the　shaded　parts　with　burnt　sienna　and　bistre；　filling　up　the　lighter　portions　with　yellow　ochre；　delicate　touches　of　burnt　sienna；　and　in　those　parts　which　naturally　have　a　bluish　tint；　add　very　delicate　touches　of　purple　so　delicate　in　fact　as　hardly　to　be　perceived。　　The　roots　of　the　hair　at　the　forehead　should　also　be　touched　with　blue；　and　the　eyebrows　near　the　temples　made　of　a　pinkish　tint。

The　chin　of　a　woman　is　nearly　of　the　same　color　as　the　cheeks　in　the　most　glowing　parts。　　In　men　it　is　stronger；　and　of　a　bluish　tint；　in　order　to　produce　the　effect　given　by　the　beard。

In　portraits　of　womenthe　middle　tints　on　the　side　of　the　light；　which　are　perceived　on　the　bosom　and　arms；　are　made　of　a　slight　mixture　of　ochre；　blue　and　lake；　（or　carmine）；　to　which　add；　on　the　shaded　sides；　ochre；　bistre　and　purple；　the　latter　in　the　darker　parts。　The　tints　of　the　hands　should　be　the　same　as　the　other　parts　of　the　flesh；　the　ends　of　the　fingers　being　a　little　pinkish　and　the　nails　of　a　violet　hue。　If　any　portion　of　the　fleshy　parts　is　shaded　by　portions　of　the　dress；　or　by　the　position　of　the　hand；　this　shade　should　be　colored　with　umber　mixed　with　purple。

TO　COLOR　THE　DRAPERY。Violet　VelvetUse　purple　made　of　Prussian　blue　and　carmine；　touching　up　the　shaded　parts　with　indigo　blue。

Green　VelvetMix　Prussian　blue　and　red…orpiment；　shade　with　purple；　and　touch　up　the　lights　with　a　little　white。

Red　VelvetMix　a　very　little　brown　with　carmine；　shading　with　purple；　marking　the　lights　in　the　strongest　parts　with　pure　carmine；　and　touch　the　most　brilliant　slightly　with　white。

White　FeathersMay　be　improved　by　delicately　touching　the　shaded　parts　with　a　little　blue　mixed　with　white。　White　muslin；　linen；　lace；　satin；　silk；　etc。；　may　also　be　colored　in　the　same　way；　being　careful　not　to　lay　the　color　on　too　heavily。

FURSRed　Furs　may　be　imitated　by　using　light　red　and　a　little　masticot；　shaded　with　umber。　　Gray　Fursblack　and　white　mixed　and　shaded　with　bistre。　Sablewhite　shaded　lightly　with　yellow　ochre。

These　few　directions　are　quite　sufficient　for　the　art；　and　it　is　quite　unnecessary　for　me　to　pursue　the　subject　further。　I　would；　however；　remark　that　the　Daguerreotypists　would　find　it　greatly　to　their　advantage　to　visit　the　studies　of　our　best　artists；　our　public　galleries　of　paintings；　and　statuary；　and　wherever　else　they　can　obtain　a　sight　of　fine　paintings；　and　study　the　various　styles　of　coloring；　atitudes；　folds　of　drapery　and　other　points　of　the　art。　In　coloring　Daguerreotypes；　artists　will　find　the　magnifying　glass　of　much　advantage　in　detecting　any　imperfections　in　the　plate　or　in　the　image；　which　may　be　remedied　by　the　brush。　In　selecting　brushes　choose　those　most　susceptible　of　a　fine　point；　which　may　be　escertained　by　wetting　them　between　the　lips；　or　in　a　glass　of　water。



CHAP。　XIII。

THE　PHOTOGRAPHOMETER。


The　last　number　（for　March；　1849）　of　the　〃London　Art…Journal；　gives　the　following　description　of　a　recent　improvement　in　Photographic　Manipulation；　and　as　I　am　desirous　of　furnishing　everything　new　in　the　art；　I　stop　the　press　to　add　it；　entire；　to　my　work。

〃Since　the　photographic　power　of　the　solar　rays　bears　no　direct　relation　to　their　luminous　influence；　it　becomes　a　question　of　considerable　importance　to　those　who　practice　the　beautiful　art　of　photography；　to　have　the　means　of　readily　measuring　the　ever　changing　activity　of　this　force。　　Several　plans　more　or　less　successful；　have　been　devised　by　Sir　John　Herschel；　Messrs。　Jordan；　Shaw　and　Hunt。　The　instrument；　however；　which　is　now　brought　forward　by　Mr。　Claudet；　who　is　well　known　as　one　of　our　most　successful　Daguerreotypists；　appears　admirably　suited　to　all　those　purposes　which　the　practical　man　requires。　　The　great　difficulty　which　continually　annoys　the　photographic　amateur　and　artist；　is　the　determination　of　the　sensibility　of　each　tablet　employed；　relatively　to　the　amount　of　radiation；　luminous　and　chemical；　with　which　he　is　working。　With　the　photographometer　of　Mr。　Claudet　this　is　easily　ascertained。　The　following　woodcuts　and　concise　description　will　sufficiently　indicate　this　useful　and　simple　apparatus。　　＇hipho_30。gif＇

〃For　an　instrument　of　this　kind　it　is　important　in　the　first　place　to　have　a　motion　always　uniform；　without　complicated　or　expensive　mechanism。　　This　is　obtained　by　means　founded　upon　the　principle　of　the　fall　of　bodies　sliding　down　an　inclined　plane。　The　sensitive　surface　is　exposed　to　the　light　by　the　rapid　and　uniform　passage　of　a　metal　plate；　A；　B；　（Fig。　31；）　having　openings　of　different　length；　which　follow　a　geometric　progression。　It　is　evident　that　the　exposure　to　light　will　be　the　same　for　each　experiment；　because　the　plate　furnished　with　the　proportional　openings　falls　always　with　the　same　rapidity；　the　height　of　the　fall　being　constant；　and　the　angle　of　the　inclined　plane　the　same。　Each　opening　of　this　moveable　plate　allows　the　light　to　pass　during　the　same　space　of　time；　and　the　effect　upon　the　sensitive　surface　indicates　exactly　the　intensity　of　the　chemical　rays。　Th