File:The artistic side of photography in theory and practice (1910) (14595540367).jpg

Identifier: artisticsideofph00ande (find matches)
Title: The artistic side of photography in theory and practice
Year: 1910 (1910s)
Authors: Anderson, A. J. (Arthur James), b. 1863
Subjects: Photography
Publisher: London, S. Paul & Co
Contributing Library: Smithsonian Libraries
Digitizing Sponsor: Smithsonian Libraries

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tly the rightshades of monochrome—shades of tone that will, soto speak, suggest the original colours—is quite themost difficult problem that the pictorial photographerhas to face. If he had only to select a view and photograph itaccurately, with every shade of gradation rendered toperfection, his task would be simple ; if he had onlyto make a faithful transcript of the tones of Nature,the panchromatic plate and colour screen wouldenable him to render his tones and colour-valuesfaultlessly. Of course the ordinary photographic plate rendersthe colours wrong—the blues come far too light intint, and the greens and yellows far too dark. Ofcourse a panchromatic plate, exposed behind a goodstrong colour-screen, will render every tint of thelandscape, from the blue of the sky to the yellow of theSt. Johns-wort in the foreground, with almost fault-less truthfulness. We know that ! But given a first-class rapid plate, with an ampleexposure, and a soft development that will prevent the 260
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PORTRAIT TAKEN SOMETHIRTY-SEVEN YEARS AGO. By W. Babcock. 26l Rendering of Colour into Monochrome sky from becoming too dense in the negative—we mayget false colour-values, but the sky will be simple, thedistance will be simple, and the foreground will besimple ; whereas, with the most scientifically accuratepanchromatic plate, exposed behind the perfectlydetermined colour-screen, every single tone in everysingle colour will be recorded, until we can get norest by reason of the multitude of the tones. With a first-class ordinary plate, we know that thesky and the brown bracken in the foreground will bealmost devoid of detail and gradation, and that thewealth of tones will be found in the greys and bluishgreens ; we also know that by varying the exposureand development we can either render the sky a lightgrey and the foreground a dark grey, or we can renderthe sky white, and the brown bracken black—in otherwords, that we can have any degree of contrast atwill. On the other hand, wi

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