The Barre daily times. (Barre, Vt.) 1897-1959, 1907-10-15

Their Advantages Over the POsitives Of
Photography.

1 EhVAokiaFhys
II The eye should see a. the camera
sees, the things Of everyday life would
reverse themselves In such a confusing
way that a suspicion Of insanity would
deprcss the seer
Take fremont street on a snnshiny
afternoon. The promenade would be
shady where Il u now light The build.
ings aud the gay strollcrs would take
their positions over where the Lafayette
mall Is located The white dresses would
be funeral, and the faces chocolate col.
ored. The blondes would be bunettes,
and the hrunettes would be blondes. Tn.
less ones points Of view changed also
with the mancr Of seeing, nothing would
be satisfactorily recognizable.
For the camera reverse sees everything
IN reverse relation. The lens looks az
the interesting world rs II the interest
ing world were turned about. The cam
era poreeives that light, j. shade and
shade i light OF gaFishncss the lenses
have such a horror that they make a
cloudy effect. The camera does not like
the sunshiny aspect OF fremont street
during an afternoon. So the negative
throws a pail over the brilliancy and
then, as though it wished To square il.
self. brightcns up the littel harnesses.
If the eve could see the thoroughfare
in such manner, Il would communicate
to the mind the impression OF a bril-.
liantly lighted street ia the night time.
That Is really the conception which the
camera seems 10 obtain. That is how
the street impressed itself upon tho
lens Of the camera and then upon the
plate. OF light there j. plenty. much as
az night there Is briiliance enough to
spare for the most dillettante lover Of
garishness.
The camera. when Il looks al such
city street, has just enough love for the
ghostly in creation TO surround a pedes.
trian with a glare, then darkening his
face, removing expression and perform
ing dexterities In blatant contracts. The
day may be ever 50 beautiful when the
camera goes forth to receive its impress.
sions, but all the sunshine appears to it !
to be darkness, all the dark white build |
ings become gloomy constructions ang.
all the Cauoasions looks negroid.
So the camera sees as the human eve |
never sees That Is because the camera |
is negative and the human eye is posi-.
tiy. ii the human eye were negative /
it might Sc things as the camera sees !
them. But then there would be nothing |
attractive about the dainty blonde who
lits down the promenade In her soft
summer gown. She would be murky,
and her pink fr0ck would be a mourning
gown. Thus, ii one We're able to see
negatively, as it were, one would be
treated to the most confusing distor
tions Of the little realities Of the world,
and probably one would become wishful
for restoration Of previous conditions
However, seeing negative in vision has
It's advantages as well as It's curiOsities.
The camera Is d lover Of detail Even
with the most acute and trained eyes
IN iniinitude Of details escape the per-
.eption. 1t il necessary to 20 through
! laborions process of cataIoguing, to
lote the appearance 0f this feature, that
feature and SO on through the long list,
eature by feature. And no human Wis
sion il SO perfect that II can grasp more
han ganeralities or see more than few
Kings at one time. All it's impressions
II scene are the result Of an ability
b collect and to remember.
One glance along fremont street
etches only one set Of impressions.
and thousands Of details en-
irely escape the observers eye But the
iegatiye vision Of the camera, even al
hongh IL receives all its impressions in
everse relations To their normal status I
as the human vision coneeiyes the
ormal status to detectives an appall
NJ multitude, That II clearly proved [
" the study Of the plate. Saving where
he bright light has worked inimically, Z
etai after detail Of the scene is cap
ured, noted and recorded. Rights are I
afts, lights are shades and shades are
ghts. but otherwise the negative vision )
] d wonderful observer.
From the human standpoint, the mega /
i've eye Of the camera obtains such dis :.
orted impressions as scarcely to make
hem worth consideration, The sense of E
dior, for example, is lost entirely, ex c
ept in the case of blacks and whites. /,
hey are also turned about A grand !.
evelopment Of the art of registering =
Genes precisely as the camera sees them \
light add elements of beauty to the Il
IMPRESSION so that an individual would II
'ish to lose his normal vision. But he i
rould be exasperated over missing the
anse Of color. .
Then again perhaps nothing would &
ompensate him for the absence Of the t,
eneral impression unless, Of course, he
1uld train his negative vision so that
would avoid accommodating detail and
sstrict itself solely to the formation Of :
aneral impressions,
In the process Of printing the camera Q