The Optical Magic Lantern Journal (August 1895)

128 The Optical Magic Lantern Journal and Photographic Enlarger. much larger than the size of the orthodox slide, but suitably and artistically composed for the size they were taken, it rarely happens that a slice out of them will conform to the requirements of picture making. Such negatives must be copied in the camera in their entirety, or at any rate with very little trimming, and then on the whole give very satisfactory results. The foreground is generally the weakest place in an enlargement ; nore often than not there is too much of it, especially if it is a plain uninter esting one. A good group of foliage, especially | of the Dock species, will of itself make an interesting foreground, especially if interspersed with rough stones to vary the lines. Studies of handsome foliaged wild plants if taken with a | judicious play of light and shade, will of themselves form excellent lantern subjects, and in this connection I would advocate a careful and intelligent examination of our lanes and wood. lands, as calculated to provide most interesting and beautiful pictures, if (and I say this advisedly) they are not shown on a scale larger than nature. Nothing is more offensive to good taste than to sec flowers and leaves many times larger than it is possible for them to grow. These subjects commend themselves for small screens ; a four feet screen being ample to show them off to the best advantage. The only occasions when the enlargement of botanical subjects is appropriate, is when shown to exhibit their formation, cither sectionally or otherwise, for educational purposes. They are then removed from the category of pictures to that of diagrams, and abnormal increase of size is sooner to be recommended than otherwise, so that their structure is made distinct as possible. In contact printing from larger negatives there is a difficulty in preserving a correct serial perspective in the projected image ; very often a | distance and mid-distance (the negatives being harmonious and full of atmosphere) is chosen, with no portion of the foreground as originally existing. The enlargement of this portion separated from its original foreground now depends for its picturesque effect on a new foreground, composed from a distant part with a result of unnatural flatness, for in almost all photographs after a certain distance one plane | cannot be distinguished from another, but merge into each other in a level greyness, form and size only conveying the idea of space. The selection of negatives rather deficient in atmosphere are best for such partial reductions, as a lantern slide must be considered apart from any other kind of photograph as merely a means to a special end. It is for this reason the best plan to take negatives especially for lantern work—at any rate negatives not exceeding -plate size but 4-plates are to be preferred, either permitting an amount of se’ection that is denied to a lantern size plate direct. Most landscapes are improved by the introduction of suitable figures in good positions, not only as regards themselves individually,but with reference to the composition of the picture generally they form a valuable aid to proper harmonising of lights and shadows. If we examine the paintings of Cuyp, nearly all have dark and light figures-—horses, cattle, dogs, men and women arranged so that some are light against a dark background and some dark against a light background, so that they form a connecting link between the light and shade. Portions of figures in the immediate foregound never look well, and entire figures seem exaggerated and out of place. So, unless sufficiently distant to be subservient to the subject, they are better omitted ; but, provided they occupy an important positicn, the utmost care should be bestowed on their rose and arrangement, as figures cf any importance always challenge attention and criticism before the rest of the subject, and this being so they should be without reproach. Animals seldcm appear awkward whatever pose they assume, but there are some positions very much better , than others that should be secured if possible. Dark animals against light ones and not several light together or dark together, an arrangement that produces a confusion of effect, especially if any little movement has taken place, which makes the confusion worse confounded, and would be avoided by properly contrasting the colours or rather the lights and shades. As a rule pictures whose chief attraction depend on their foregrounds make the most ettective lantern slides and pictures, with brilliant cloud effects are almost equally so, but a wide expanse of country, a view from a high hill say, comes out very tame on the screen—it may be ot local interest, but not as a picture. Brilliancy | and contrast are absolutely necessary to success ful lantern slides. 10: New Apparatus. THE POCKET KODAK. The latest introduction by the Eastman Photographic Materials Company, Limited, is a Kodak on a miniature scale which they term the Pocket Kodak. Although it is very small, being only 2} by 22 by 32 inches, it is in