CAMERA FOR STEREOSCOPIC PICTURES.
FIG. 2.
FIG. 3.
FIG. 1.
The principle of this art depends upon the property which certain chemical preparations (chiefly those of silver) possess of being blackened by exposure to light while in contact with organic matter, and that in so gradual a manner that every degree of shade may be represented. Now, as the various appearances of everything we see depend upon the effects of light and shadow (together with the peculiar color of the objects themselves), it follows that if these lights and shadows can be transcribed, we shall have a representation of the objects, minus their own proper colors—and this is what photography effects. For the purpose of bringing the objects to be taken within a small compass, and for increasing their vividness, an instrument is used called a camera, in which there is an achromatic arrangement of lenses (shown in [figs. 2] and [3]), which produces a picture on the paper or glass to be affected by the light, in the same way that a common magnifying glass will, if held at a proper distance from a piece of paper, but much more perfectly ([fig. 1]). The effect of this camera-picture on the paper or glass when properly prepared and subjected to its influence, is to darken the paper in all those parts which in the camera-picture are the brightest, and to leave unaffected those parts which are the darkest, thus producing what is called a “negative picture,” having the lights represented by shadows and the shadows by lights. This is used to form the true or “positive” picture, which is done by placing the negative on a piece of prepared paper, and exposing it to the light. The negative having been made partly transparent by wax (as will be further explained), and the parts of the picture which are to be dark being left transparent, the light passes through them and blackens those parts of the prepared paper behind, while those which are to be light, being dark in the negative, exclude the light and thus preserve the paper at the back from being darkened; the paper is thus affected in the contrary way to the negative, and is therefore a true picture of the lights and shadows of the object copied. This is the principle of all photographic pictures, but with numberless variations in its practice; it would therefore be impossible here to describe the particulars of each process, beyond the most simple.
FIG. 4.