We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
122 THE BOOK OF THE LANTERN. latter cases be so much extended that the exposure must be proportionately increased. A picture under glass will seldom give a good result, for the surface will take up reflections from • surround- ing objects, which may not perhaps be noticed on the focussing screen, but which will most surely become dis- agreeably evident in the negative. A highly glazed albumenized print is objectionable for the same reason, but can be generally coaxed into a position in which no mischief of the kind is apparent. Steel engravings have no gloss, but they seldom make good pictures for the lantern screen, their details being too fine. A first-class wood engraving is far better for the purpose, and as its value is, as a rule, not very great, it can be judiciously touched up before being photographed. Perhaps the artist of such a picture would be horrified at his work being thus interfered with, but the touching up indicated is quite legitimate. Let me further explain my meaning. Suppose that in one of our illustrated periodicals there is a representation of some current event which we want for our lantern. If it is an interior view, it will probably require no doctoring. But if a landscape, or a group of figures with a sky back- ground, then certain parts should be suppressed. The sky is not white, but consists of a number of parallel lines with clouds interspersed; effective enough in the print, but not suitable for reproduction in an enlarged form. These lines, which seem to mingle so well, giving the effect of a general soft " tint," will on the lantern sheet look like what they really are—a series of detached bars right across the picture. To get rid of these lines, the outline of the figures, and