The Pencil of Nature Part 2

PLATE V. BUST OF PATROCLUS.

Statues, busts, and other specimens of sculpture, are generally well represented by the Photographic Art; and also very rapidly, in consequence of their whiteness.

These delineations are susceptible of an almost unlimited variety: since in the first place, a statue may be placed in any position with regard to the sun, either directly opposite to it, or at any angle: the directness or obliquity of the illumination causing of course an immense difference in the effect. And when a choice has been made of the direction in which the sun's rays shall fall, the statue may be then turned round on its pedestal, which produces a second set of variations no less considerable than the first. And when to this is added the change of size which is produced in the image by bringing the Camera Obscura nearer to the statue or removing it further off, it becomes evident how very great a number of different effects may be obtained from a single specimen of sculpture.

With regard to many statues, however, a better effect is obtained by delineating them in cloudy weather than in suns.h.i.+ne. For, the suns.h.i.+ne causes such strong shadows as sometimes to confuse the subject. To prevent this, it is a good plan to hold a white cloth on one side of the statue at a little distance to reflect back the sun's rays and cause a faint illumination of the parts which would otherwise be lost in shadow.

[PLATE VI. THE OPEN DOOR.]

PLATE VI. THE OPEN DOOR.

PLATE VI. THE OPEN DOOR.

The chief object of the present work is to place on record some of the early beginnings of a new art, before the period, which we trust is approaching, of its being brought to maturity by the aid of British talent.

This is one of the trifling efforts of its infancy, which some partial friends have been kind enough to commend.

We have sufficient authority in the Dutch school of art, for taking as subjects of representation scenes of daily and familiar occurrence. A painter's eye will often be arrested where ordinary people see nothing remarkable. A casual gleam of suns.h.i.+ne, or a shadow thrown across his path, a time-withered oak, or a moss-covered stone may awaken a train of thoughts and feelings, and picturesque imaginings.

[PLATE VII. LEAF OF A PLANT.]

PLATE VII. LEAF OF A PLANT.

PLATE VII. LEAF OF A PLANT.

Hitherto we have presented to the reader the representations of distant objects, obtained by the use of a Camera Obscura. But the present plate represents an object of its natural size. And this is effected by quite a different and much simpler process, as follows.

A leaf of a plant, or any similar object which is thin and delicate, is laid flat upon a sheet of prepared paper which is moderately sensitive.

It is then covered with a gla.s.s, which is pressed down tight upon it by means of screws.

This done, it is placed in the suns.h.i.+ne for a few minutes, until the exposed parts of the paper have turned dark brown or nearly black. It is then removed into a shady place, and when the leaf is taken up, it is found to have left its impression or picture on the paper. This image is of a pale brown tint if the leaf is semi-transparent, or it is quite white if the leaf is opaque.

The leaves of plants thus represented in white upon a dark background, make very pleasing pictures, and I shall probably introduce a few specimens of them in the sequel of this work: but the present plate shews one pictured in the contrary manner, viz. dark upon a white ground: or, speaking in the language of photography, it is a _positive_ and not a _negative_ image of it. The change is accomplished by simply repeating the first process. For, that process, as above described, gives a white image on a darkened sheet of paper: this sheet is then taken and washed with a fixing liquid to destroy the sensibility of the paper and fix the image on it.

This done, the paper is dried, and then it is laid upon a second sheet of sensitive paper, being pressed into close contact with it, and placed in the suns.h.i.+ne: this second process is evidently only a repet.i.tion of the first. When, finished, the second paper is found to have received an image of a contrary kind to the first; the ground being white, and the image upon it dark.

[PLATE VIII. A SCENE IN A LIBRARY.]

PLATE VIII. A SCENE IN A LIBRARY.

PLATE VIII. A SCENE IN A LIBRARY.

Among the many novel ideas which the discovery of Photography has suggested, is the following rather curious experiment or speculation. I have never tried it, indeed, nor am I aware that any one else has either tried or proposed it, yet I think it is one which, if properly managed, must inevitably succeed.

When a ray of solar light is refracted by a prism and thrown upon a screen, it forms there the very beautiful coloured band known by the name of the solar spectrum.

Experimenters have found that if this spectrum is thrown upon a sheet of sensitive paper, the violet end of it produces the princ.i.p.al effect: and, what is truly remarkable, a similar effect is produced by certain _invisible rays_ which lie beyond the violet, and beyond the limits of the spectrum, and whose existence is only revealed to us by this action which they exert.

Now, I would propose to separate these invisible rays from the rest, by suffering them to pa.s.s into an adjoining apartment through an aperture in a wall or screen of part.i.tion. This apartment would thus become filled (we must not call it _illuminated)_ with invisible rays, which might be scattered in all directions by a convex lens placed behind the aperture.

If there were a number of persons in the room, no one would see the other: and yet nevertheless if a _camera_ were so placed as to point in the direction in which any one were standing, it would take his portrait, and reveal his actions.

For, to use a metaphor we have already employed, the eye of the camera would see plainly where the human eye would find nothing but darkness.

Alas! that this speculation is somewhat too refined to be introduced with effect into a modern novel or romance; for what a _denouement_ we should have, if we could suppose the secrets of the darkened chamber to be revealed by the testimony of the imprinted paper.

[PLATE IX. FAC-SIMILE OF AN OLD PRINTED PAGE.]

PLATE IX. FAC-SIMILE OF AN OLD PRINTED PAGE.

PLATE IX. FAC-SIMILE OF AN OLD PRINTED PAGE.

Taken from a black-letter volume in the Author's library, containing the statutes of Richard the Second, written in Norman French. To the Antiquarian this application of the photographic art seems destined to be of great advantage.

Copied of the size of the original, by the method of superposition.

[PLATE X. THE HAYSTACK.]

PLATE X. THE HAYSTACK.