The Photographic art-journal . ng their capa-bilities, as from certain hints thrown out byProfessor Stokes, there appears to be avery considerable difference in the amountof actinic rays emitted by differing combus-tibles, and it seems not improbable that awell contrived spirit lamp may be foundhighly advantageous to use while taking theimpression, although its light-giving prop-erties are so defective. I hope shortly tobe able to resume this subject. OPTICS.* PART IV. — Continued. DIVERGENCE SECTION V. PERSPECTIVE OF RAYS OF LIGHT, AND CONVERGENCEOF THE OPTIC AXES. he distance and magnitudeof
The Photographic art-journal . ng their capa-bilities, as from certain hints thrown out byProfessor Stokes, there appears to be avery considerable difference in the amountof actinic rays emitted by differing combus-tibles, and it seems not improbable that awell contrived spirit lamp may be foundhighly advantageous to use while taking theimpression, although its light-giving prop-erties are so defective. I hope shortly tobe able to resume this subject. OPTICS.* PART IV. — Continued. DIVERGENCE SECTION V. PERSPECTIVE OF RAYS OF LIGHT, AND CONVERGENCEOF THE OPTIC AXES. he distance and magnitudeof objects as they appearto the eye, is the effect oftheir distinctness of out-line and brightness of col-or ; or, in other words ow-ing to the intensity oflight and shade. All who are in the least familiarwith the effects produced in a pic-ture, by the use of colors, knowthat distant views must be repre-sented by faint shades, and with indis-tinct out lines, and that the more these are * Continued from page 273, Vol, 5 No. deepened and heightened the nearer theyappear to be brought to the eye, and theeffect of distance is destroyed. Light radiating from a centre becomesrapidly weaker as the distance from thecentre increases. Thus, it is that the nearobjects of a landscape illuminated by thesun, give strong outlines and shadows andbright lights, and as the eye extends itsrange of vision, small objects are no longervisible, in consequence of the blending ofcolors and figures, until at last the outlineof the distant mountain or sea fades awayinto the blue sky. By the proper disposition of light andshades, and the management of colors, com-bined with the perspective, the painter isnable d to give those beautiful illustrationsof nature so grateful to the man of tasteand refinement, and as it requires a really 1853. The Photographic Art-Journal. 371 artistic eye, to arrive at a true knowledgeof perspective drawing, we find that butfew artists have been eminent in the art oflands
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