These are reversed vignettes, that is to say, the margins round the
portrait instead of being white as in the ordinary vignette are black.
A method of making them was recently described by "Teinte" in _The
Photogram_. This was as follows:
Two methods can be adopted. The first of these about to be detailed,
though entailing, perhaps, in the first place a trifle more trouble,
produces the best results. We require a black background, preferably
of black velveteen, large enough for a head and shoulders. As the
material is not usually obtainable of a width greater than twenty
inches or so, there will have to be a seam, and this must be very
neatly done. The seamed velveteen is then stretched taut on a frame,
which should preferably be covered first with calico, to prevent
"sagging." Always, before use, dust the velveteen with a soft
brush--say, a hat brush--to remove any adhering dust or fluff. Instead
of velveteen, a good paper background can be used, only it must be
seen that the surface is smooth and free from cracks or creases, and
is _dead black_.
[Illustration: FIG. 60.--MAGIC VIGNETTER.]
We require also a vignetting mask suitable to the subject, with a
serrated edge. This has to be fixed inside the camera between the lens
and plate.[4] The proper position can be found by trial; the further
the card is away from the plate the softer and more gradual the
vignetting. No special arrangement for holding this is required beyond
what can be prepared by any one who can use his fingers. We take a
piece of stout card, the outside of which will just fit into the
folds of the camera's bellows, and by a little twisting it can be
sprung in between the folds which will hold it. There is an opening in
the center, square in shape, about quarter plate size. This acts as a
frame to hold the vignetting mask, which has the opening of proper
size and shape. By using a frame as described the vignetter can be
moved about up and down and from side to side, and when the correct
position is found fixed by drawing pins. The frame and vignetter
should be blacked all over. For this purpose take some lampblack
ground in turps, and mix with it a little gold size sufficient (found
by trial) to prevent the lampblack from rubbing off when dry, but not
enough to cause the paint to dry shiny.
[4] A vignetter for the purpose, as shown in Fig. 60, has been placed
on the market.
A good distance to fix the vignetter is about one-third the extension
of the camera when the object is in focus, measuring from the lens.
We adjust the camera so that the image of the figure falls in the
correct position on the screen, and the vignette is made of such a
size and shape as to give the amount required.
The shadow of the mask protects the edges of the plate surrounding the
image, and in development we obtain a negative in which the image is
vignetted into clear glass, and on printing from such the margins
print dark. The printing of such a negative should be prolonged until
the margins of the picture are quite lost, or they are apt to show
after toning.
The sketch shows the arrangement of vignetter inside camera.
The other plan consists in making an ordinary negative, using
preferably a dark background. From this is made a vignette in the
ordinary manner. When this comes from the frame it is placed on a
piece of clean glass--face up--and another piece of glass free from
flaws placed over it. Now cut a piece of card to the size and shape of
the vignetted portion of the print, and fix this with glue to a piece
of cork. This piece of cork must vary in thickness with various
pictures. Now place the cork on the glass so that the mask covers the
picture and fix with glue to prevent slipping. Place the whole out in
diffused light, and allow the darkening of the margins to go on until
sufficiently deep. The print is then toned.
The height of the card from the print must be such that no abrupt line
is produced between the first printing and the darkened margin, but
that one will shade into the other without break.