This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1861 edition. Excerpt: ... CHAPTER XI. ON COLOURING PHOTOGRAPHIC LANDSCAPES. This branch of the art is, strange to say, one which has been, save by some few artists for their own private gratification, little if at all practised, for I cannot regard the few lamentable failures which have been from time to time exhibited by mere ...
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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1861 edition. Excerpt: ... CHAPTER XI. ON COLOURING PHOTOGRAPHIC LANDSCAPES. This branch of the art is, strange to say, one which has been, save by some few artists for their own private gratification, little if at all practised, for I cannot regard the few lamentable failures which have been from time to time exhibited by mere "print colourers" as steps in this direction. There is not the slightest reason why photography should not provide the drawing and light and shade of a landscape for the purposes of the artistic colourist, as well as the original sketch for a portrait. A somewhat different print must be secured it is true, because it would with water colours be absolutely impossible to secure the more luminous greens of foliage, or the delicate and tender aerial tones of the distance upon the the dark surfaces representing these in the ordinary photograph; but a proper print may very easily be secured by the simple process of placing the sensitized paper in the pressure frame for printing with the non-sensitized surface in contact with the negative. The landscape is then printed through instead of on the paper, and the proof so secured is a faint but perfectly distinct one, giving all the detail and gradation without the intense masses of dark in the foliage, or the strong definition and undue depth of the distance: whilst if this print be held up to the light, the landscape will then have all the vigour and force of an ordinary proof on albumenized paper. Such proofs as these are frequently produced to serve as transparencies for decorating windows, lamp shades, &c., especially when rendered more transparent by waxing or coating with mastic varnish, after being coloured in water or other colours. A print prepared as above after receiving the broader washes...
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