Dominick Volini Photography

Archive for January, 2012

A ray of light failing perpendicularly through the air upon a surface of glass or water passes on in a straight line through the body; but if it, in passing from one medium to another of different density, fall obliquely, it is bent from its direct course and recedes from it, either towards the right or left, and this bending is called refraction.  If a ray of light passes from a rarer into a denser medium it is refracted towards a perpendicular in that medium; but if it passes from a denser into rarer it is bent further from a perpendicular in that medium. Owing to this bending of the rays of light the angles of refraction and incidence are never equal.

Transparent bodies differ in their power of bending light–as a general rule, the refractive power is proportioned to the density–but the chemical constitution of bodies as well as their density, is found to effect their refracting power. Inflammable bodies possess this power to a great degree.

The sines of the angle of incidence and refraction (that is, the perpendicular drawn from the extremity of an arc to the diameter of a circle,) are always in the same ratio; viz: from air into water, the sine of the angle of refraction is nearly as four to three, whatever be the position of the ray with respect to the refracting surface. From air into sulphur, the sine of the angle of refraction is as two to one–therefore the rays of light cannot be refracted whenever the sine of the angle of refraction becomes equal to the radius* of a circle, and light falling very obliquely upon a transparent medium ceases to be refracted; this is termed total reflection.

* The RADIUS of a circle is a straight line passing from the center to the circumference.

Since the brightness of a reflected image depends upon the quantity of light, it is quite evident that those images which arise from total reflection are by far the most vivid, as in ordinary cases of reflection a portion of light is absorbed.

by Nesster under CC BY 

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Velox is the very best paper for amateur use for it is simple to use, thoroughly dependable and is made in a variety of grades and surfaces to fit all sorts of amateur negatives.

It prints in any light, requires no dark room and permits the amateur to utilize his evening hours in print making. Its simplicity of manipulation and extreme gradation make it suitable for photographic work of every kind.

Velox is divided broadly into two kinds of paper called “Regular” and “Special” (hard and soft) each division containing a variety of surfaces. “Regular” papers develop quickly and are best suited for negatives lacking contrast. “Special” papers develop slowly, and give soft effects from hard negatives. Use “Special” Velox for negatives producing good results on “Printing Out” paper (such as Solio), and “Regular” only with very flat negatives (negatives lacking contrast).

Velox surfaces: In the “Regular” class are carbon (matte surface), Glossy, Glossy double weight, Velvet, and Velvet double weight. “Regular” Velvet Velox is semi-gloss and gives prints of exceptional beauty. This paper will give satisfactory results from very flat negatives.

In the “Special” class, the surfaces are Carbon (matte surface), Portrait (smooth matte), Portrait double weight, Rough, Glossy, Glossy double weight, Velvet, and Velvet double weight.

“Special” Velvet Velox has a greater range than any of the other “Special” papers.

Royal Velox is coated on a soft, mellow-tinted stock, which when re-developed affords all the soft delicacy of a rare old etching. It is made in two grades, “Regular” and “Special” and one surface, just rough enough to produce the desired effect.

Development, that former bugbear of the amateur photographer and especially of the beginner, is made a simple proposition by the Kodak Film Tank—fully as simple as any part of the photographic process.

The Kodak Film Tank automatically develops every roll of film put into it, just as well as that roll of film could be developed by the most experienced photographer. If directions are followed, if the chemicals are mixed and the temperature regulated according to instructions, a boy or girl can get just as good results from the Kodak Film Tank as an expert by any method.

In other words, every roll of film put into the film tank, where the simple directions are implicitly followed, will come out developed as well, or better, than that roll of film could be developed in the dark room by the most experienced photographer. And it is very simple, it eliminates the dark room entirely, developing the film in broad daylight, and is so compact as to be easily carried and used anywhere.

The Kodak Film Tank consists of a winding box, a light-proof apron, and a heavily nickeled brass solution cup with cover. In the Brownie Film Tank, however, no cover is necessary as the film roll itself is turned. All articles can be packed in the box, making the entire outfit self-contained.

The film to be developed is placed upon a reel in the winding box, the cover is placed on the box and the film is wound around an axis in combination with the apron, in such fashion that, when completely wound, the apron protects the film effectually from light, and may be removed from the winding box safely at any time. It is then lowered into the cup of developer, the cover attached and the film left to develop for twenty minutes. After development the film is removed for fixing.

Every step is performed in daylight and the exact time necessary for development, in combination with the chemical formula, has been scientifically worked out, so that all differences of exposure within reasonable bounds are taken care of. Especial attention is called to the new 2½-inch size, for the development of 1A or 2A films.