The daily morning journal and courier. [volume] (New Haven, Conn.) 1894-1907, 1896-07-07
NEW HAVEN MORNING JOURNAL COURIER TUESDAY JULY =

and daubs his canvas with chemical
materials having the same absorbing
and rejecting action upon light as the
natural objects he Is ATTEMPTING to re-
produce, The camera cannot, attract
pigments from the object upon which
1t Is focused; but, following q method
familiar in color printing, one may
take a set of photographs of the same
object, each photograph representing
only one color II a photograph be
taken through a plate of glass tinged
with pigment transparent only to,
say, red rays, then the negative viii re-
produce only the red parts of the OBJ
jeot. This might be printed in red or
looked at through red glass, and
would faithfully represent the red
parts Of the object The photo-chro-
moscope camera of Mr.. Ives takes
three pairs of images simultaneously,
each image picking out rays of one col
or. His stereoscopic photo chromo-
scope is an elaboration of the old stere-
oscope by which two images were seen
as one; this ingenious invention COM
bines the six different photographs into
one image, to which each contributes
it's natural color. The specimens ex-
hihited We're absolutely lifelike in their
vivid and accurate reproduction Of nat
ural color, and the method unquestion-
ably will lead almost to a revolution in
color printing,
The second source of natural colors is
seen in simple form in the play of
color on pearl. There Is no pigment
In pearl, and yet beams of light, re-
| hected from it's surface, display the
most varied hues. Seen with a micro
scope, the surface of the pearl appears
wrinltled and puckered with innumer-
able tiny ridges and hollows. Light,
striking on the edges of these, is brok-
| en- up, the rays of different colors COM
| ing off at different angles, as, when a
beam passes through prism, the col
ored rays emerge separately. These
are interferences or structure colors,
their appearance depending upon the
mode in which the structure OF the coll
ored object interferes with the natural
| reflection Of light. Many of the most
gorgeous hues of feathers are OF this
kind M. Lippmann's method Of color
photography consists in enabling the
| different rays Of light to make such
structure on the sensitive plate as will
afterward give rise by reflection to the
same colors. Behind the transparent,
sensitive film Of his plate he places
mirror. The colored rays from the
natural object strike the mirror, and
| then, as they are reflected outward
| through the plate, raise 1t into micro
scopical ridges, the size and distribu
ton of which correspond to wave
lengths of the different rays, just as
| the direction and size Of snowdrifts
correspond to the direction and
| strength of the eddies which raised
| them. The negative seen in the ordi-
nary way, is a colorless image of the
ordinary kind; but when it is held so
that light is reflected from it to the eye,
then each ridge reflects the color that
caused it, and the total result Is color
photograph dazzlingly brilliant and alb
solutely realistic. M. Lippmann's as
sistant threw upon a screen a set or
| photographs in their natural colors, in
Guiding such diversely colored scenes
as a landscape with a white house
| shaded by chestnut, and with bril-
liant flower bed in the foreground, all
seen in vivid sunlight; lady in gay
/ n.
dress, lying on a green lawn; ana cut
| flowers in brilliant eastern jars. His
| last exhibit was wonderful In itself,
4 and most convincing as to the reality
of his method Upon q gelatine plate
on which he had photographed the
! spectrum he poured water, and then
replaced 1t in the lantern. The water
made the gelatine expand and the deli
cate ridges were obliterated. No color
was visible upon the screen, but, as the
water evaporated, the ridges began to
throw tumult of changing color on
| the screen more gorgeous and transito-
ry than a smoky sunset Puppies and
| orange, green's and erimsons, glowed
and fiickered, melted into each other,
faded and reappeared, as the gelatine
ridges gradually settled down into
their original outlines, until when the
plate was dry the glory of the rainbow
| reaDDeared