There are other instances where the artist is almost as incapable of representing action as the photographer.
In an interesting chapter entitled Action that Cannot be Represented," the author says : "Motion can only be well represented within one medium. In passing from one into another the surface line of the denser medium forms an effective bar to further progress." As an illustration he gives a diver entering the water, and the spash and humorously likens his stationary appearance to a dilapidated lily with the two stamens floating upon the surface (Figs. 287 and 288).
How many photographs do we see of divers entering the water that have just the same appearance as that depicted ? They do not represent action in any shape or form.
Speaking of Muybridge's celebrated photographs of animals in motion, he shows how few of the various phases gives the impression of action. Taking the greyhound for example, the greatest possible expression of speed is obtained when the animal has all feet free from the ground (see Fig. 289). In the next illustration (Fig. 29o), no motion is expressed. The animal appears to be endeavoring to balance himself on one foreleg planted firmly on the ground, and pointing aimlessly in the air with the other.
Referring to Muybridge's horses, he says : "In the many impressions of horses leaping over hurdles, scarcely one seems able to clear the obstacle. The photograph arrests the motion and leaves the creature in dangerous proximity to the obstruction (Fig. 291). Seeing the animal so distinctly, the mind cannot allow for the great swiftness of actual movement, and the artist's picture will give no better result unless he takes the liberty with facts to make the necessary allowance which the truthful camera cannot do. The mind must be freed from all apprehension of contact or the certainty of the action is unpoised by the fear." mOTruNO.—This defect was at one time usually caused by inequality in the gelatine film, but at the present date dry plates are made all but perfect, and the cause must be looked for elsewhere. In most cases it proceeds from stagnation of the developer.
MOUNTANT.—The substance used for attaching prints to the mount or other permanent support. In the selection of a suitable mountant, it is necessary to avoid any that show any
trace of acidity. It should be as simple and as free from foreign matter as possible, otherwise it is likely to have a detrimental effect upon the image, causing it to fade away. Among the many substances used for this purpose, owing to their adhesive properties, may be mentioned flour or starch paste, arrowroot, albumen, indiarubber solution, dextrine, gum, gelatine, glue.
Flour household flour makes an excellent paste, but it is rather liable to acidity. The following recipe for a paste that will not sour is given in " Spon's Recipes" : Dissolve four teaspoonfuls of alum in one gallon of water ; when cold stir in as much flour as will give it the consistency of thick cream, beat smooth, add one teaspoonful of pulverized resin, and 20 drops of oil of cloves, pour the whole into two quarts of boiling water, stirring thoroughly until it is cooked, pour into a glazed earthen vessel, and when cold cover the top with oiled silk, and put in a cool place. When needed for use, take out a portion and soften with warm water. This will be found very convenient for use at times when only a small quantity of paste is required.
The ordinary method of making a flour paste is to just pour boiling water on to a small quantity previously made into a paste with cold water.
Starch although much employed as a mountant, should be carefully used. Unless quite pure and fresh it is very dangerous, as it is very likely to become acid and destroy the print upon which it is laid.
It is best prepared by triturating starch with cold water in a mortar, so that it shall be per fectly free from lumps. Boiling water is then poured on slowly, constantly stirring the while until the paste is formed, which will be seen by its increased transparency. The addition of a little alum to the water with which it is prepared will render the paste more permanent. The proportions would be as follows : Powdered starch, two ounces, mixed with two ounces of water, and about 18 ounces of boiling water poured on, into which it has been dissolved about so grains of powdered alum, and 12 drops of carbolic acid.