Photographic Amusements Part 1

Photographic Amus.e.m.e.nts.

by Walter E. Woodbury and Frank R. Fraprie.

INTRODUCTION

As Mr. Woodbury stated in his introduction to the original edition of this book, in order to avoid misunderstanding, it would be well to explain at the outset that it is not intended as an instruction book in the art of photography in any sense of the word. It is a.s.sumed that the reader has already mastered the technical difficulties of photographic practice and is able to make a good negative or print.

It was the purpose of the author to describe a number of novel and curious effects that can be obtained by the aid of the camera, together with some instructive and interesting photographic experiments.

The contents of the work were compiled from various sources, chiefly from "The Photographic Times," "The Scientific American," "The American Annual of Photography," "La Nature," "Photographischer Zeitvertreib," by Herman Schnauss, and "Les Recreations Photographiques," by A. Bergeret et F. Drewin; and the ill.u.s.trations were likewise taken from various sources.

In conclusion the author or compiler modestly lays claim to very little himself, quoting the words of Montaigne, who said:--

"_I have gathered me a posie of other men's flowers, of which nothing but the thread that binds them is mine own._"

And yet so popular did the book prove that in the course of its first ten years of life, it ran through edition after edition.

The publishers of "The Photographic Times" later acquired the copyright of the popular volume and published three editions.

The publishers of AMERICAN PHOTOGRAPHY acquired the book during the Great War through their purchase of "The Photographic Times," but in spite of a steady demand for the book after the limited stock had been sold out, did not find it advisable to reprint it until now.

In putting the book to press at this time, most of the original plates have been used. A number of the old pictures have been replaced by more modern examples and 14 pages have been added to the book, including several new topics.

The publishers would be glad to receive ma.n.u.scripts and pictures describing and ill.u.s.trating novel and interesting photographic effects not mentioned in this volume, to be published in AMERICAN PHOTOGRAPHY and incorporated in the next edition of PHOTOGRAPHIC AMUs.e.m.e.nTS. They also request that photographers who make photographs ill.u.s.trating any of the topics treated in the book, and especially those ill.u.s.trated by wood cuts, may submit them for consideration, as they are prepared to purchase such as may seem available for the next edition.

FRANK ROY FRAPRIE.

BOSTON, January, 1922.

PHOTOGRAPHIC AMUs.e.m.e.nTS

THE MIRROR AND THE CAMERA.

[Ill.u.s.tration: FIG. 1.--EFFECT OBTAINED WITH PARALLEL MIRRORS.]

Quite a number of novel effects can be obtained by the aid of one or more mirrors. If two mirrors are taken and placed parallel to one another, and a person placed between, the effect obtained is as shown in Fig. 1, where one soldier appears as a whole regiment drawn up into line. To make this experiment we require two large-sized mirrors, and they must be so arranged that they do not reflect the camera and the photographer, but give only multiple images of the sitter. This will be found quite possible; all that is necessary is to make a few preliminary experiments, adjusting the mirrors at different angles until the desired effect is obtained.

A process of multiphotography which was at one time quite popular consisted in posing the sitter with his back to the camera as shown in Figs. 2 and 3. In front of him are arranged two mirrors, set at the desired angle to each other, their inner edges touching. In the ill.u.s.trations here given the mirrors are inclined at an angle of 75 deg., and five reflected images are produced. When an exposure is made and the negative developed, we not only have the back view of the sitter but the full reflected images in profile and three-quarter positions as well.

[Ill.u.s.tration: FIG. 2.--DIAGRAM OF THE PRODUCTION OF FIVE VIEWS OF ONE SUBJECT BY MULTIPHOTOGRAPHY.]

In the diagram, Fig. 2, reproduced from "The Scientific American" the course taken by the rays of light, determined by the law that the angle of incidence is equal to the angle of reflection, is plainly marked out. We see here their pa.s.sage from the sitter to the mirror and back to the camera. Provided the mirror be large enough, images of the full length figure can be made as shown in Fig. 4.

For photographing articles where it is of advantage to secure a number of different views of the same object this method of photographing with mirrors opens up quite a wide field of possibilities. In France it is used for photographing criminals, and thus obtaining a number of different portraits with one exposure.

[Ill.u.s.tration: FIG. 3.--GALLERY ARRANGED FOR MULTIPHOTOGRAPHY.]

The use of an ordinary mirror in portrait work has enabled photographers to produce very pleasing results. There is often a very striking difference between the full and side views of a person's face, and by means of such a combination as this, one is enabled to secure a perfect representation of both at the same time. In making reflection portraits it has often been noted that the reflection has a more pleasing effect than the direct portrait. The reason of this is that it is softer and the facial blemishes are not so distinctly brought out. There is naturally a slight loss of detail, but this is by no means a drawback. The worst fault of the camera in portrait photography is the tendency to include every little detail which the artist would suppress. It not only includes all the detail, but often exaggerates it to a painful extent. By making a portrait by reflection this defect is avoided. Of course the image is reversed, but this is in most cases of little consequence; in fact, the sitter himself would be more likely to consider it a far more truthful likeness, for when we look into a mirror we do not see ourselves as others see us, but a reversed image. With some faces the difference is quite striking.

[Ill.u.s.tration: FIG. 4.--MULTIPHOTOGRAPH OF A FULL-LENGTH FIGURE.]

[Ill.u.s.tration: By H. L. Bostwick. FIG. 5.--MULTIPHOTOGRAPH OF CISSY FITZGERALD]

[Ill.u.s.tration: FIG. 6.--ELONGATED REFLECTION IN A SPOON.]

Very many amusing effects can be obtained by the use of a convex mirror. Even an ordinary, well-polished spoon may be made to give some curious results. (See Fig. 6.) The thin man becomes an elongated ma.s.s of humanity to whom Barnum would have given a big salary, while the fat man may be reduced to the proportions of a walking-stick.

Convex mirrors for producing these ludicrous effects can be purchased at any mirror manufacturer's store. The advantage of the camera lies in the ability to secure permanently the curious images produced.

Even more ridiculous-looking images can be secured by the use of a piece of uneven gla.s.s silvered. For a method of silvering gla.s.s we are indebted to the kindness of Dr. James H. Stebbins, Jr., the well-known a.n.a.lytical chemist. Dissolve pure nitrate of silver in distilled water in the proportion of 10 grains to 1 ounce, and add carefully, drop by drop, sufficient strong ammonia solution to just dissolve the brown precipitate at first formed, stirring constantly during the addition.

Make a solution of Roch.e.l.le salt, 1 grain to the ounce of distilled water. Clean the plate of gla.s.s thoroughly with a little wet rouge and polish dry with a piece of chamois leather. Warm it before the fire or in the sun to about 70 to 80 deg. Fahr., and lay it on a perfectly level surface. Then mix 1 ounce of the silver solution with half an ounce of the Roch.e.l.le salt solution and pour the mixture on the gla.s.s so that every part of the surface will be evenly covered with it.

[Ill.u.s.tration: FIG. 7.--CURIOUS EFFECT OBTAINED WITH A CONVEX MIRROR.]

Allow this to stand in the warm suns.h.i.+ne from half to one hour, when the reduced silver will be deposited as a fine film over the surface of the gla.s.s. When this is done wash off the gla.s.s with distilled water and wipe the entire surface very gently with a little wet wadding, which will take off the roughness and render it easier to polish. When perfectly dry the silver should be polished by rubbing with some smooth, hard surface. The plate is then varnished by pouring over it a suitable varnish and is ready for use.

THE PHOTO-ANAMORPHOSIS.

The name anamorphosis has been given to two kinds of pictures distorted according to a certain law, and which are of such a grotesque appearance that it is often impossible to recognize the subject of them; while viewed with proper apparatus they appear as perfectly correct images. One kind is designed to be viewed by reflection and the other is reconst.i.tuted by means of a special rotary apparatus.

[Ill.u.s.tration: FIG. 8.--ANAMORPHOSIS VIEWED IN CONVEX CYLINDRICAL MIRROR.[1]]

[1] From "Experimental Science." Published by Munn & Co., New York.

Until quite recently, these pictures were drawn approximately from the reflection of the object as seen in a convex mirror, the position of which was indicated on the drawing and which restored it to its real form. M. Fenant conceived the idea of employing photography for obtaining these pictures. Fig. 9 reproduces a photo-anamorphosis from a negative by M. Fenant. If a cylindrical mirror be placed on the black circle shown in the reproduction the photograph will appear in its original form. Our ill.u.s.tration represents a portrait, although the features are barely recognizable. Similar pictures may be obtained by photographing the drawing or subject reflected in a cylindrical concave mirror placed perpendicularly.

[Ill.u.s.tration: FIG. 9.--A PHOTO-ANAMORPHOSIS.]

The second kind of anamorphosis is produced by the distortion of the picture in the sense of one of its dimensions. To reconstruct it, it is caused to rotate rapidly, at the same time that a disc, perforated with a slit through which the picture is viewed, is rotated in front of it at a slightly different speed.

The apparatus invented by M. Linde for producing the anamorphosis is shown in Figs. 10 and 11. _G_ is a camera provided with a revolving plate-holder, _T H_ are revolving discs the movement of which is made to bear a certain relation to that of the plate-holder by means of the band F and the pulleys _D D_. The whole is set in operation by a piece of clockwork and the cord _F_. _A_ is the axis of the camera, _B_ that of the plate-holder, and _C_ that of the revolving disc. On this disc is fixed the picture from which it is desired to make an anamorphosis.

The relative motions are so regulated that when the plate-holder has made a complete revolution the disc has turned through an angle of 60 to 80 degrees in the opposite direction. Between the plate-holder and the lens is a diaphragm pierced with a slit about 10 millimetres wide.

The action of the light on the plate takes place through this slit.

The negative obtained, prints are made upon plain salted paper and rendered transparent with wax or vaseline. These pictures can be viewed in the ordinary apparatus used for showing anamorphoses of this kind. The print is fastened to a revolving apparatus and in front of it is another disc painted black and provided with a number of slits.