Photographic Amusements Part 5

[Ill.u.s.tration: FIG. 48.--PHOTOGRAPH AND DISTORTIONS WITH THE "TRANSFORMISTE."]

According to the arrangement of the slits, the caricatures obtained will be different. If, for instance, the first slit be a vertical one, and the other, _i.e._, the one nearest the picture, a horizontal one, the picture, in comparison with the original, will be distorted lengthwise. If, however, one of the slits forms no straight line, but a curved one, the transformed picture will show either lengthwise or sideways curved lines, according to the slit being a vertical or a horizontal one. The form of the resulting picture will also be different according to which one of the slotted plates is placed more or less obliquely in the box.

[Ill.u.s.tration: FIG. 49.]

[Ill.u.s.tration: FIG. 50.]

[Ill.u.s.tration: FIG. 51.]

[Ill.u.s.tration: FIG. 52.]

The slits must be made very exactly; above all, their edges must be absolutely sharp, every incorrectness being transferred to the picture. They may be made about one-third of a millimeter wide; if they are too narrow the picture will not turn out sharp. In making the slits it is a good plan to cut them in thin black paper, and to mount the latter on gla.s.s plates.

[Ill.u.s.tration: FIG. 53.]

In a later description of the apparatus we learn that the discs containing the slits are often made circular in shape and so arranged that they can be revolved as shown in Fig. 53. This, of course, allows of a still greater variety of positions of the two apertures in relation to each other and an increasing number of grotesque effects.

Reproductions of some of the pictures obtained are given.[3] See Figs.

48 to 52.

[3] Reprinted from _La Science en Famille_.

PHOTOGRAPHING SEAWEEDS.

[Ill.u.s.tration: FIG. 54.--SEAWEED PHOTOGRAPH.]

Of all the glorious creations of nature few are more beautiful than the delicate sea mosses to be found by the sea sh.o.r.e. Many delight in preserving them in a dry state, mounted on cards, but unfortunately they are usually so fragile that after a little while they fall to pieces. The photographer, however, is able to reproduce these beautiful formations and preserve them in a more permanent form by means of his camera. It is true that he cannot reproduce their delicate colorings, but the photographs can, if so desired, be lightly printed on platinum paper and colored as well as possible by hand.

STAMP PORTRAITS.

A SPECIAL camera is sold for making these little pictures.

[Ill.u.s.tration: FIG. 55.--STAMP CAMERA.]

It contains a number of lenses all of the same focus. In front is an easel where the portrait is attached, surrounded by a suitable border.

The images given are about the size of postage stamps (see Fig. 56), and when the negative is printed on a printing out or developing paper, toned or developed, they can be perforated and gummed at the back. They are very useful for sticking to letters, envelopes, and for business purposes.

[Ill.u.s.tration: FIG. 56. STAMP PHOTO.]

LUMINOUS PHOTOGRAPHS.

There are several different ways of making these. Obtain some Balmain's luminous paint, and coat a piece of cardboard with it. Place this in the dark until it is no longer luminous; place this behind a gla.s.s transparency and expose to light, either daylight or, if at night-time, burn a small piece of magnesium wire. Return to the dark, remove the transparency, and a luminous photograph is obtained on the prepared card. A simple plan is to merely expose a piece of the prepared cardboard to the light and place it behind a transparency; then retire to a darkened room. The luminous paint, showing through it, will have a very pretty effect. If no gla.s.s transparency is at hand, a silver print can be used, if previously oiled and rendered translucent by vaseline or any other means.

FLORAL PHOTOGRAPHY.

Perhaps the beauties of nature are nowhere better exemplified than in flowers, and nothing can be prettier than photographs of them carefully arranged. When we say carefully arranged we mean, of course, artistically. The secret of arranging flowers--an art in itself--is to hide the fact that they have been arranged.

Among the best pictures of flowers which have appeared in print, are those by John Carpenter, an English gentleman, who has made this particular branch of photography his chief study, and has been awarded many prizes and medals for flower studies.

Some time ago we wrote to him asking for a few particulars of his method adopted, and he has been so very kind as to send the following valuable notes:

_Suitable Flowers._--I find that the best colors to photograph are pale pink, yellow, white or variegated colors. Reds, browns, and dark colors generally, do _not_ answer well.

Flowers of irregular form are most suitable, such, for example, as chrysanthemums, lilies, poppies, etc. These give beautiful gradations of light and shade.

_Grouping._--There is great scope here for artistic feeling. All appearance of formal arrangement must be avoided and a natural grouping should be aimed at. This becomes more difficult as the flowers must be somewhat on one plane to get them in proper focus. A round bunch of flowers which may appear very pretty to the eye would probably be utterly wrong to make a picture of.

[Ill.u.s.tration: Fannie Ca.s.sidy. FIG. 57.--A BOWL OF ROSES.]

_Lighting._--I have never worked in a studio, but have a small lean-to gla.s.s house in which I work. The top light is softened down by light shades so that the strongest light comes from the side. This gives solidity to the subject and is more pleasing than a flat lighting. Of course, the sun should never shine on the subject.

_Plates and Exposure._--If colored flowers are being photographed, orthochromatic plates are a necessity, but for white flowers and light-green foliage ordinary plates may be employed. I generally use a medium isochromatic, stop the lens to _f_:22 and give exposure of from thirty to sixty seconds in summer and vary according to the season; sometimes twenty _minutes_ is not too much.

_Development._--My usual and favorite developer is pyro-ammonia, and in careful hands it cannot be beaten. I commence development with a minimum of pyro and work tentatively.

Using such a solution, for 2 ounces of developer I should commence with 1-1/2 grains pyro, 1 grain bromide, and 2 grains ammonia. If the image does not gain sufficient density add more pyro and bromide, but unless very fully exposed it is difficult to avoid too much density, especially if white flowers are being photographed.

I find a plain gray or dark background most useful, and to avoid flatness it may be set at an angle and not too near the subject.

Flowers should be photographed as soon as gathered, and if possible be placed in water. I have often found a plate spoiled by movement of the leaves or flowers, even with short exposures, although the movement was not perceptible to the eye. This is more especially the case in hot weather.

DISTORTED IMAGES.

Take a portrait negative that is no longer of any use, and immerse it in a weak solution of hydrofluoric acid. The film will leave the gla.s.s. It is then washed and returned to the gla.s.s support. By stretching the film one way or the other, and allowing it to dry in this position, the most amusing prints can be made. Keep your fingers out of the acid!

PHOTOGRAPHS WITHOUT LIGHT.