INSTANTANEOUS PHOTOGRAPHY.
A certain number of the readers of this journal are occupied with photography, and all assuredly are interested in this marvelous art, whose progress is so remarkable. So it has seemed to us that it would be of interest to treat of a question that is the order of the day. We desire to speak of those photographic apparatus called instantaneous shutters.
Numerous apparatus of this kind have been proposed to the public, and several even have been described in this journal, but we have to state that, despite the success in certain cases, none of them has proved remarkable for its qualities and superiority. This is due, we believe, to the fact that inventors, while showing arrangements that were often ingenious, have not always taken into account the end that the shutter is to subserve, and the qualities that it must possess in order to attain such end.
In face of the progress made by extra rapid dry processes, the question of shutters has become the most important, since cabinet-making, optics, and photographic chemistry give us apparatus, objectives, and products which, although they will doubtless be improved upon, satisfy for the present all our needs.
What is understood by instantaneousness? To our knowledge, no definition thereof has as yet been given. For our part, we propose to style "instantaneous" any photograph that is taken in a fraction of a second that our senses will not permit us to estimate. The shutter is the apparatus which allows the light to enter the photographic chamber during this very short time.
In order to examine the different rules that govern the question of shutters, we shall take as an example the type styled the "Guillotine."
This apparatus, as every one knows, is a stiff plate containing an aperture and passing over the line of the rays of light. Some place it in front and others behind, while others again place it within the objective. Let us examine and discuss what occurs in the three cases. Suppose a rectilinear objective of the kind most usually employed in instantaneous photography, and an object, A B, that we wish to reproduce (Fig. 1), the objective being provided with any sort of diaphragm. The point, A, sends a bundle of rays, a"b", to the first lens. Here they are slightly refracted, and then go on parallel lines to the second lens, where they are again refracted and form at A' an image of A. It is this image that we see upon the ground glass, and which makes an impression upon the sensitive film. The point, B, behaves in the same way and gives an image at B', but, as will be at once seen, the image will be reversed. In our figure, A corresponds to the sky and B to the earth. If, then, the shutter passes in front of the objective, it will first allow of the passage of the rays which come from the sky, then, on continuing its travel, it will unveil the landscape, and lastly the ground. As it is submitted to the law of the fall of bodies and has a uniformly increasing velocity, it follows that the time of exposure will uniformly decrease between A' and B', and that the sky will pose longer than the foreground. Such a result is contrary to all photographic rules, which require that objects shall pose so much the longer the less they are lighted. This position of the "guillotine" shutter is absolutely false, and must be altogether discarded. If the shutter be placed behind the objective, it will follow, as a consequence of the same demonstration, that the time of exposure will go diminishing from B' to A', and that the foreground will be exposed longer than the sky. The solution is logical, then, and will permit of obtaining excellent negatives.
FIG. 1
Let us now examine how the image, A'B', is formed. The point, A, appears first, and becomes lighter and lighter up to the moment at which all the rays that emanate from the point, A, are unveiled. The point, B', is not yet visible. As the shutter continues its travel the point, B', appears in its turn and becomes illuminated like the point, A'. At this moment the objective is completely uncovered; the image, A'B', is perfect, and possesses its maximum intensity. Then the point, A', gradually becomes obscured and disappears; and the same is the case with all parts of A'B'. The image is developed progressively from A' to B', and makes its impression upon the sensitive plate successively--a fact which, as may be conceived, may have its importance. If, for example, we are photographing a ship that is being tossed about by the sea (and we borrow this example from our colleague, Mr. Davanne), the image of the top of the mast will not be formed at the same instant as that of the base, and if the motion of the mast has sufficient extent it may take on a curved form, due to the fact that it has effected a movement between the moments during which its apex and base were being photographed.
Upon placing the guillotine shutter in the optical center of the objective, what will occur? The shutter will permit the passage of an equal fraction of the rays derived from A and B, that is to say, the image will be complete from the first instant of the exposure. The points, A' and B', will be illuminated precisely at the same moment. As the shutter continues its travel, a fresh quantity of rays coming from A and B will be admitted, and the image will be illuminated more and more up to the moment at which all the rays can pass. It will then possess its maximum intensity. Then a portion of the rays from A and B being intercepted, the image will become darker and darker until complete extinction. The image here, then, is not produced successively as in the former case, but is entire from the beginning. In this case the image of our mast cannot be misshapen, since it has been accurately photographed at the same moment.
The true place for the guillotine shutter, then, from a theoretical standpoint, is in the interior of the objective. Are there any other advantages to be gained by so placing it? Yes; it is easy to understand that for the same time of exposure, and consequently for the same result, the aperture may be so much the smaller in proportion as the optical center is approached.
The luminous rays, in fact, form in the objective a double truncated cone whose upper base is equal to the diaphragm, and the lower one to the diameter of the lenses. If the aperture be equal to any diameter whatever of one of the cones, the result will be the same; but, for the same period of exposure, it will evidently prove advantageous to approach the diaphragm. The ratio of the apertures that give the same results at the optical center or behind the objective is as that of the diaphragm employed to that of the back lens. If the diaphragm is one centimeter and the lenses four centimeters, an aperture of one centimeter in one case and of four in the other will give the same result.
We shall see further along that it is advantageous to employ apertures equal to several times the diameter of the diaphragm or lens. Now, from what we have just said, an aperture, equal for example to four times the diaphragm, will be only 4 centimeters, while the corresponding aperture behind the lens must be 16. The dimensions of the first will be practical, and those of the second will give too cumbersome and too fragile an apparatus. But why must the aperture be larger than the diaphragm employed? This is what we are going to demonstrate. Let us make the aperture equal to the diameter of the objective, and see what occurs at the different periods of the exposure. For the sake of clearness, we shall suppose the velocity uniform.
It is evident, a priori, that a perfect apparatus will be the one that will allow the light to act during the entire exposure with a maximum of intensity. Is it thus, when the aperture is equal to the diameter of the objective? Evidently not. Let us consult Fig. 2. We here see the shutter progressively uncovering the objective. The light will increase from A to C up to the moment when the objective is entirely uncovered, and will then immediately decrease up to B. The objective has operated with a maximum of light for only a short time. We are far from the ideal result in which the maximum of light, CD, should exist during the entire exposure, and form the upper plane precisely equal to AB.
Fig. 2.
If we cannot obtain such a result in practice, we must nevertheless aproximate to it. We shall do so by increasing the shutter. Up to C' the apparatus will operate as before, but from C' to D' the aperture will be complete, and from D' to B' will decrease as has been said.
Let us give A'B' the same value as AB, that is to say, let us increase the velocity in the second case in order that the time of exposure shall be the same; we shall at once see that in the first case the object will be completely uncovered for only a very short time, while in the second the exposure will be perfect for a very appreciable period.
The time of exposure which is absolutely active, we propose to call effective time of exposure in contradistinction to the total time of the same. The more we increase the value of C'D', that is to say, that of the effective time, the more the ratio, C'D'/A'B', will approximate to unity, and the nearer we shall reach perfection. The correlative of such elongation of the aperture is an increase in velocity which will always bring the total exposure to the same figure, whatever be the aperture employed.
If the aperture be equal to two diameters, the effective time will be equal to half the time of the total exposure; and if it is equal to three diameters, the exposure will be good during 2/3 of the total time. This amounts to saying that the effective time of exposure is equal to n times the diameter--1, the velocity being supposed always uniform. If we place the shutter within the objective, it is the diameter of the diaphragm that it will be necessary to say. The effective time will be equal then to n diaphragm--1.
From what precedes it results that in no case should the aperture be inferior to the diaphragm, since the former would otherwise absolutely suppress the effective time in giving a lower plane corresponding to an insufficient quantity of light. Moreover, an aperature of this kind would prove injurious to the quality of the image by successively uncovering rays which do not form their image identically at the same point. We are now, then, in presence of results that are absolutely positive, and they are as follows:
1. The guillotine shutter should be placed in the interior of the objective and as near as possible to optical center, that is to say, behind the diaphragm, since the latter is precisely in the optical center.
2. The aperture should be as wide as possible.
3. The velocity should be as great as possible.
In practice, an aperture from 4 to 5 times the diameter of diaphragm employed will be more than sufficient, since we shall have, according to circumstances, ¾ or 4/5 of the effective time. Moreover, whatever be the time of exposure, this ratio once established will be invariable, and the apparatus will always operate identically.
A shutter combining these qualities will not yet be perfect. It is necessary, according to the time and the light, that the time of exposure shall be capable of being varied. In a word, it is necessary that the apparatus shall be graduated and permit of taking views more or less quickly. The different velocities might be given to the shutter by means of weights, rubber, or springs. The latter seem to be preferable, since they permit in the first place of operating out of the vertical; moreover, they are less fragile, and, through different tensions, they permit of these graduations that we consider as indispensable. For the current needs of practice 1/100 of a second is a limit that seems to us sufficient as a maximum of rapidity. In order to know the time of exposure obtained we employ the following method, which permits of graduating an apparatus rapidly and with extreme precision:
A band of smoked paper is fixed upon the shutter, then a tuning-fork provided with a small stylet resting against the paper is made to vibrate. Better yet, a chronograph which vibrates synchronously with a tuning-fork, whose motion is kept up by electricity, is put in the same place. Fig. 3 shows the arrangement to be employed. We then let the shutter fall, when the little stylet will inscribe a certain number of vibrations. Knowing the number of vibrations of the tuning-fork, and counting the number of those inscribed upon the paper, it is very simple to deduce therefrom the amount of the time of exposure. The results of one of these experiments we have reproduced in Fig. 4. The tuning-fork gave 100 double vibrations per second. Six vibrations are included between the opening and closing of the apparatus. Each vibration estimated at 1/100 of a second. The exposure was 6/100 of a second in round numbers. This is the amount of the total time of exposure. As for that of the effective time, that is just as easily ascertained. It suffices to know the number of vibrations comprised between the moment at which one point of the objective has been completely uncovered and that at which it has begun to be covered again. The time is equal to 2/100 in round numbers.
In the experiment in question, with an aperture equal to twice the diameter of the diaphragm, we have, then, 1/3 of the half-open exposure; and the amount of the effective time is 1/3. The difference that we have in practice is due to the fact that the velocity is uniformly accelerated. In order to increase the amount of the effective time, it will be only necessary to increase the aperture of the shutter and apply again the method that we have just pointed out.
FIG. 3.
So much for the material part of the apparatus. It will be necessary in addition to acquire sufficient individual experience to be able to estimate the intensity of the light, and consequently to judge of the diaphragm to be employed and the velocity to be obtained. It must not be forgotten that such or such an object having a relatively slow speed will not be sufficiently sharp on the negative if it is too near the apparatus, while such or such another, much more rapid, might nevertheless be caught if sufficient distance intervened. Here it is that will appear the skill of the amateur, who will find it possible to obtain the said object as large as possible and with a maximum degree of sharpness.
We have seen what diverse qualities should be possessed by a good guillotine shutter, and it is evident that the same should be found in all apparatus of the kind. In our opinion the guillotine is a well defined type that possesses one capital advantage, and that is that it permits of the use of aperatures as wide as may be desired for the same time of exposure. It is a question, as we have seen, of velocity. Consequently, however short the exposure be, it will always be possible to operate with a full amount of light during the greater part of the exposure. It is necessary to dwell upon this point, since in another kind of apparatus that possesses a closing and opening shutter the same result cannot be reached. In the Boca apparatus, for instance, we remark that at a given moment the time of exposure is reduced to nothing, as the closing shutter covers the objective before the latter has been unmasked by the opening one. In all exposures, in fact, the times of opening and closing have a constant value. It follows that the shorter the exposure is, the greater becomes such value, and to such a point that, at a given moment, the apparatus no longer make an exposure.
FIG. 4.
In the guillotine, on the contrary, the same space always intervenes between the time of opening and closing, since it is fixed in an unvarying manner by the diameter at the aperature. Then, the greater the velocity, the more the time of opening and closing diminishes. If the ratio of the effective to the total time of exposure is 3/4, for example, it will be invariable, whatever be the velocity.
In concluding, we will remark that, without employing springs, we may increase the aperture of the shutter without varying the time of exposure. To effect this it is only necessary to raise the point of the shutter's drop. In fact, as may be seen in Fig. 4, all the vibrations of the stylet corresponding to 1/100 of a second always continue to elongate, and it will consequently be possible for the same time of exposure to considerably increase the aperture and, as a consequence, the effective time, by causing the guillotine to drop from a greater elevation. From this study, which has principally concerned the guillotine shutter, can we draw the deduction that this type of apparatus will become a definite one? We think not. In fact, along with its decided advantages the guillotine has a few defects that cannot be passed over in silence. The aperture, in measure as it is increased, renders the apparatus delicate and subject to become bent. If, in order to obviate this trouble, we employ plates of steels, we increase its weight considerably, and the chamber becomes subject to vibration at the moment the shutter drops. If rubber or springs are used for increasing the velocity, it is still worse. Moreover, it is quite difficult to obtain a graduation, and to our knowledge, and probably for this reason, it has not yet been applied.
The reader will please excuse us for this perhaps somewhat dry theoretical expose, but we have thought it well to give it in the hope that it might well show the qualities that should be required of a photographic shutter and particularly of the guillotine. Moreover, at the point to which photography has arrived it is no longer permitted to do things by halves.
After the memorable discoveries of Nicephore, Niepce, Daguerre, and Talbot, photography remained for some time stationary, limited to the production of portraits and landscapes. But for a few years past it has taken a new impetus, and new processes have come to the surface. In the graphic arts and in the sciences it has taken considerable place. Being the daughter of chemistry and physics, it is not astonishing that we require of it the precision of both. It is, moreover, through a profound study of the reactions that gave it birth and through a knowledge of the laws of optics that it has come into current use in laboratories. In fact, it alone is capable of giving with an undoubted character of truthfulness a durable vestige of certain fleeting phenomena.--
A. Londe, in La Nature.