File:The American annual of photography (1922) (14781332862).jpg

Identifier: americanannualof36newy (find matches)
Title: The American annual of photography
Year: 1922 (1920s)
Authors:
Subjects: Photography
Publisher: New York : Tennant and Ward
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
leasing to the beginner than to get hiscolor eight shades too dark, using some of the various anilinecolors and then try to get the color out. It can be done,—sometimes. Usually your slide is spoiled. With the use of oilcolors all these troubles are avoided, and there is really onlyone difficulty to contend with—what this is I will explain atlength. For materials, I am going to give specific names, as I havefound that all brands of paint do not work the same, and somewill not work at all. Get enough colors—life is too short tospend time mixing shades all the time. The outfit that I amgiving here will only cost three or four dollars at the most,and will paint upward of a million slides—easily. The colors I use are—Windsor & Newton Transparent OilColours—a special color made for transparent work. Getthe following colors—Gamboge, Chinese Orange, Mars Yellow,Alizarin Crimson, Crimson Lake, New Blue, Prussian Blue,Brown Pink, Italian Pink, Burnt Sienna, Vandyke Brown. 160
Text Appearing After Image:
u G 4> c pi)< For medium to mix them with I must acknowledge my in-debtedness to Mr. Alfred H. Saunders, for a formula givenin the Annual some years ago and which I reprint here. It isthe best medium I know, and I have tried them all, or nearlyall. Transparent Gold Size, 4 parts. Pure Linseed Oil, 2 parts. And pure Turpentine, i part. Get these from a dealer in Artists materials, or you willnot get linseed oil or turpentine, but some villainous com-pound which will ruin your work. Mix these well and you areready. Dust is the prime enemy of the slide painter—guard againstit as a plague by whatever means is necessary. Do not paintby daylight—use a light of the same color as the one by whichit will be shown, or as near as possible. A nitrogen filledbulb—3. white one—is first rate—then use a piece of opalglass, not ground but opal for an easel. Put it at an angle ofabout 45 degrees and your easel is ready. For a palettenothing is better than another piece of glass, not opa

Note About Images