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The photographic news
- Bandzählung
- 29.1885
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- 1885
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- Bandzählung
- No. 1376, January 16, 1885
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The photographic news
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THE PHOTOGRAPHIC NEWS. Vol. XXIX. No. 1376.—January 16, i885. CONTENTS. PAGE The New Printing Process 33 Experiments with Vidal’s Colour Sensitometer 34 French Correspondence 35 Ives’ Isochromatic Process with Chlorophyl. By Dr. II. W. Vogel 35 How to Make the New Rapid Printing Paper for Development. By J. B. B. Wellington 36 A Dictionary of Phot'graphy 37 PAGE Instantaneous Photographv. By W. Cobb 38 Notes 40 Patent Intelligence 42 Musings after the Exhibition. By Portcrayon 42 Correspondence 43 Proceedings 44 Talk 47 Answers to Correspondents 48 THE NEW PRINTING PROCESS. In photographic matters the usual course of events is that a discovery or invention is made by a photographer, pro fessional or amateur; that it is published either through the medium of a society, or of the photographic press ; is taken up experimentally by other photographers, who publish their results and improvements ; and is eventually adopted by one or more commercial firms, who bring the practical details of mmufacture to perfection, and reap the money benefit. And what is now occurring is likely to be no exception to the rule. To illustrate this we may refer to a sentence from a series of articles on “ Gelatino-Bromide Paper for Positive Printing,” which series was commenced on page 721 of our volume for 1883, and finished on page 20 of the volume for 1884. Within the last few weeks, and almost simultaneously, several commercial firms have brought out new printing papers, the peculiarity of which is that a short exposure only is necessary, that the prints are afterwards deve loped, then are toned exactly as silver prints on albumen- ized paper are. It is not by any means our intention to suggest that the commercial papers recently introduced to the notice of the photographic fraternity are not novelties. Still, we desire to point out that every principle involved in the making of a developed image on gelatino-chloride has already been discussed and explained, not only in editorial articles, but in the papers of our contributors ; and viewing the matter by the light of what has already been done and written, we think we are not far from the mark when we say that these papers are coated with a gelatine emulsion, the haloid in which is either chloride of silver, a mixture of chloride and bromide, or possibly bromide aloue. Mr. J. B. B. Wellington has been able to get practically identical results with all of these three emulsions, the peculiar red colour of the developed print which makes it amemable to toning being, in fact, not so much due to the nature of the silver haloid in the emulsion, as to the manner of ad justing the exposure and the development. When we give an exposure very much longer than is necessary to producea fully-exposed picture with thestrongest developer which the print will stand, and develop with a weak and very much restrained developer, we get an image of a warm colour, whether the emulsion be a chloride or a bromide. The advent of the new papers in commerce has produced quite an excitement in the photographic world, demonstra tions of the working of them having been given in all parts, not only of London, but of the country. A lecture given by Mr. W. K. Burton at the Westminster Aquarium last Friday, on “ The Future of Photographic Printing,” wts chiefly taken up by a demonstration of the process. We have ourselves experimented pretty freely on the papers offered to the public, and have taken every opportunity of questioning such of our friends as have worked the process, on their experiences of it. We may therefore, we think, with advantage to our readers, sum up what appear to us to be the advantages and the drawbacks of the papers, and to what particular purposes they are likely to be generally applicable, premising our remarks with the statement that nothing can be taken as final which results from experiments, however carefully made, which have extended over only a few weeks. The cardinal advantage of the process is, of course, the short space of time necessary for exposure, a few minutes at six or eight inches from an ordinary fish-tail gas burner being sufficient, an exposure almost as short as can be given by hand being long enough with good diffused day- light. The next advantage is amenability to toning. It must be borne in mind that the production of prints by a brief exposure, and subsequent development, is by no means a new thing—was, in fact, done at least forty years ago. The novelty is in getting an image which may be toned to any of a great range of colours, precisely as a print on albumenized paper is toned. Mr. Burton, in his lecture at the Aquarium already referred to, gave it as his opinion that, though nothing definite could be said in the matter, the chances were that the prints on the new papers would be far more permanent than those on albumenized paper. We think that he is probably right here. There is little doubt that the fading of albumenized prints is connected with the organic salt which is produced by the contact of the albumen with free silver nitrate. In a gelatine emulsion—produced always with excess of soluble haloid—there is no such organic salt produced, unless we admit that the sensitive medium is itself a chemical combination of a bromide or chloride of silver with gelatine. Still another advantage is this. In any process where we have exposure followed by development, there is the possibility, in adjustment of the one to the other, of com pensating for certain defects—notably over- and under density—in the negatives from which we print. There are certainly, however, drawbacks in the process, as well as advantages. Development always involves skilful labour. The development of the prints by the new process is by no means more easy than development of gelatine plates. Indeed, the action is so exceedingly rapid towards the finish, that the greatest nicety is necessary to remove the print from the solution at precisely the right moment. Then, to get the best surfaca on the finished print, it is necessary to squeegee on to glass, and when the prints are dry, to strip them. This is a troublesome pro cess, and has to be followed by a still more troublesome
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