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The photographic news
- Bandzählung
- 29.1885
- Erscheinungsdatum
- 1885
- Sprache
- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- SLUB Dresden
- Lizenz-/Rechtehinweis
- Public Domain Mark 1.0
- URN
- urn:nbn:de:bsz:14-db-id1780948042-188500006
- PURL
- http://digital.slub-dresden.de/id1780948042-18850000
- OAI
- oai:de:slub-dresden:db:id-1780948042-18850000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
- Bemerkung
- Seite I-II fehlen in der Vorlage. Paginierfehler: Seite 160 als Seite 144 gezählt.
- Strukturtyp
- Band
- Parlamentsperiode
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- Wahlperiode
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- Bandzählung
- No. 1399, June 26, 1885
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
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- Wahlperiode
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Zeitschrift
The photographic news
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Band
Band 29.1885
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- Register Index III
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Band
Band 29.1885
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- Titel
- The photographic news
- Autor
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404 THE PHOTOGRAPHIC NEWS. [June 26, 1885. attainment, was that of providing some substitute for overlapping. A flat woodcut put into a newspaper press along with type under a soft blanket prints very badly, owing to the want of force and intensity in the dark parts of the picture. In printing from a wood-cut for book work or for a superior journal, the printer cuts out pieces of paper, and places them in position, so that at each revo lution of the press they fall exactly on the parts of the b'ock intended to print the deepest shades. “ Overlaying,” as this is called, forms an art in itself, and in ordinary news paper work it is, for obvious reasons, quite impracticable. But a photo-relief is, in point of exactness, more perfect than any overlay ever prepiredby the most experienced artistic printer, the degree of relief being exactly pro portioned to the intensity of the shade required. Why should not this property of the photo-relief be utilised ? This was a new idea entirely, and it was worked out with satisfactory results. The photo-relief was made of depth sufficiently great to protect from any pressure all the dots in the lightest parts of the picture. These dots in the type-metal block lie in hollows, and when the blanket presses the paper on them the darkness of the mark made is proportional to the height. Thus the “ dip ” of the blanket, instead of being a disadvantage, is utilised to a very important purpose. One fact about the specimen printed in March will therefore be understood, although it sounds like a paradox. The printing of the Photo graphic News is too good to give the blocks which my process produces a proper chance. The dip is not suffici ently great, and, in consequence, the dark parts of the picture print too dark, and the light parts too light, thus making the effect rather spotty. By the use of a small piece of blanket in any press, the objection is overcome; and perhaps when I am in London, as I expect to be in a few weeks, I may be able to show readers of the Photo graphic News portraits as they would print on an ordinary newspaper press. As I have said, it is to the problem of photography in the newspaper press that I have applied my efforts, being persuaded that before many years are over, the link between the studio and the newspaper office will soon be fully supplied, and photographs will be seen in almost every public print. HOW TO SUCCEED IN TAKING GOOD PICTURES ON GELATINE PLATES No. 1. BY S. B. BOTTONE, I Can imagine that many of my readers will exclaim, “ What is the use of writing about this ? Those who do not know, can buy a sixpenny book at any photographic dealer’s, which will teach them all they want to know.” Perfectly true ; I have no wish todecry the many excellent pamphlets, varying in price from one penny upwards, by means of which the man most ignorant in photography can be taught to take a picture. But I write for a great many amateurs who, having spent a few pounds in an outfit, taken a few lessons from a photographic friend, and suc ceeded in taking a few good pictures, gradually find them selves getting into a hopeless muddle. Sometimes the picture is beautifully sharp but,—oh, so thin ! At another time it comes out veiled, and pretty black all over, and yet prints without any contrast. At another time the picture seems all out of focus; and again at another, great traus- parent spaces appear after fixing. Now, I propose to teach the amateur how to find out the cause of these and other defects; and by so doing, put him in the way to become a successful photographer. Ido not propose (at present) to give any receipt for the preparation of the gelatine plates themselves, since those that are to be found at the dealers’ are so uniformly good, that it is not worth while for the amateur to make his own plates, unless he has some special object in view. But I must strongly advise the student to choose a well-known plate, and then stick to it, until he has overcome eve obstacle. The chief difficu’ties in the way of success are: — 1st. Improper light in the dark-room. 2nd. Stray light in the camera or dark-slides. 3rd. The sitter or object badly lighted. 4th. Improper exposure. 5th. Improper development. We will now proceed to attack these difficulties one by one, so that we can afterwards single out the point at which our failures (if any) occur. 1st Improper Light in the Dark-Room.—Given sufficient time, I believe any coloured light will affect the sensitive bromo-iodized gelatine film ; but practically, dark shades of orange and red are sufficiently inactive to afford pro tection from injury to the film, if the manipulations do not extend over an unreasonable time ; and if the window, or other source of light, be not unduly large, or exposed to directrays of the sun, 1 have found that the glazed linings made at the Foot’s Cray, known as “Golden Fabric” and “Cherry’ Fabric,” are excellent. Suppose we have to fit up a dark-room with either of these materials, we must carefully block up every window, every chink through which light can pass, except that window we intend to cover with the yellow or red lining. Stout brown paper and good stiff paste can be used to block out any chinks in boards, bad fitting doors, &c., &c. Remember, absolutely no light must enter the room except through the window chosen. Now as to the choice of the window. The window for a medium-sized room should not exceed four square feet in size; but if the room is very large, say eighteen or twenty feet long, so that the operating table is twelve or sixteen feet from the window, it may be larger. The window must face the north or west. If it faces the south or east, it will be better to block up the window altogether, and work by a ruby lantern ; the reason for this is, that if the sun shines on the window it must be so much covered with fabric to enable you to work without fog as to be almost dark when the sun goes off; and if, on the other hand, you use only sufficient fabric to enable you to see and work when the sun is not on, then, on the advent of the sun, your pictures will surely fog. Having covered your window (and two folds of golden fabric or one of golden and one of cherry will afford ample protection for ordinary sized windows), you may proceed to test practically whether your room is light-tight. To do this effectually, you must begin by making up a little standard developer thus. Take— A.—Neutral oxalate of potash ... 4 ounces Water 8 „ Place in a bottle capable of holding 12 ounces. Agitate until the water will dissolve no more of the oxalate. B.—Ferrous sulphate 1 ounce Water ... ... ... ... 2 ounces Place in a four-ounce bottle, agitate, and keep corked. Both these bottles should be labelled. If required, these solutions may be made up in quantities of pounds instead of ounces. A little fixing solution should also be made up by dissolving one pound of hyposulphite of soda in one pint of hot water, allowing to cool and bottling off. Label this bottle also, and make it a part of your creed never to allow any hyposulphite solution to get near any other solutions (Abney forgive me !) If you do, you will have stains of all kinds, fogs, reversals, and other pretty effects. (Always wash your hands after having touched the fixing solution.) Having made up these two solutions and placed them in your dark-room, take your sample of plates (as yet unopened) to some successful photographic friend, and ask him to try one so as to see whether they fog. This is hardly likely, still it will afford you convinc ing proof as to which side the fault lies. If he reports that they are all right, go into your dark-room, close the
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