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The photographic news
- Bandzählung
- 29.1885
- Erscheinungsdatum
- 1885
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- Englisch
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- F 135
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- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
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- http://digital.slub-dresden.de/id1780948042-18850000
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- Bandzählung
- No. 1377, January 23, 1885
- Digitalisat
- SLUB Dresden
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- Ausgabe
- Parlamentsperiode
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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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REDUCED COPIES OF MUSIC BY PHOTOGRAPHY. We have several times referred to the possible advantage of having miniature waistcoat-pocket editions of vocal and instrumental music, and some years ago put the idea into practice. Recently our attention was drawn to the adapta tion of the principle to violin music, the little photographic reductions being held by a small spring clipped to the instrument on the left-hand side near the neck, out of the way of the left hand and of the bow, and yet easily read. An excellent method of working is to be found in the use of the old silver bath. A negative is taken a trifle under-exposed, fixed in cyanide, and the lines, if necessary, cleared by means of a weak iodine solution, followed by dilute cyanide. After well washing it is carefully flooded twice with distilled water, and treated by Eder and Toth’s lead intensifier. First, in a solution containing— Red prussiate of potash 6 parts Nitrate of lead 4 „ Water 100 „ When quite whitened, and after again soaking in three or four changes of distilled water, it is ready to be im mersed in a solution (1 to 4) of ammonium sulphide, which should produce a black opaque ground. With discoloured paper and indifferent printing it may be necessary to intensify a little with pyro and silver after fixing, to form a sufficient deposit upon which the lead can build up the requisite density. It is advisable to have a substratum of albumen, or the film may not stand so much washing. Now, with the present condition of matters photo graphic, we are no doubt right in supposing that very few have a silver bath to utilize for any purpose, so we wish to indicate another method whereby a somewhat similar result may be obtained, the materials being within easy reach of all. An inexpensive basis of operations is to be found in the commercial gelatino-bromide of silver paper, which lends itself admirably to this special purpose, if certain precau tions are taken in its employment. Very often, all that is needed is a part of the music to be copied—as, for instance, the air and words out of a song—in which case it is easy to cut out those portions required from these paper negatives, to arrange them in due order on a piece of glass, and to print them at one operation. A little black varnish on the glass will cover the unavoidable breaks between the slips. Were it not that the ordinary sheets (104 by 12} in size) are not always covered fairly and evenly to the edges, we could get as many as fifteen little negatives out of one of them, each piece being 2J by 3} inches, a useful size for the pocket. It is safer, however, to be satisfied with nine pieces, and have plenty of margin to spare. We then proceed as follows. The sheet of music is secured to a board fixed up at right angles to the table, and a camera is placed at a suitable distance, to form an image of the size required. If the ground glass in the camera is thio, it can be em ployed for focussing by turning it in the frame, so that the ground side is out. If this cannot be done, it is better to take two pieces of equally thin and clear glass of a suitable size, and, coating one of them with matt varnish, use it for focussing in the dark slide, with shutter drawn and back open, the matt side being outwards. The other piece is to form a support for the paper, the exposure being made through it, while a piece of cardboard or glass, to receive the pressure of the spring, secures all in place. If the exposure is made by daylight—in a studio, for instance—it is well to have a sheet of white paper placed flat on the table in front of the music, when, in a good winter light, with an aperture of Y, three seconds should suffice. We have sometimes preferred to work by artificial light, as rendering the process more certain and under control, and place two little screens of cardboard or tin plate about twelve inches in front of the object, just out of the way of rays entering the lens, and raised six inches from the table. If three inches of thin magnesium ribbon are burnt behind these screens, sufficient light is obtained to give a vigorous image, and the exposure can be regulated by altering the length of the pieces burned. There must not be the least over-exposure, so as to cover the fine lines of notes or words; and the development must be effected very slowly. Any form of the ferrous oxalate developer will answer, but it must not be too strong, and no hypo solution must be used with it. The exceedingly thin coating of silver bromide that is formed on the paper makes it impossible to produce the same black opacity so readily obtained on a wet plate, and therefore one must have recourse to a non-actinic colour as the ground of the negatives. A suitable reagent will be found in Schlippe’s salt, a solution of which is prepared — 40 grains to the ounce of water, with fifteen drops of ammonia added. After bleaching the film with mercuric chloride, and washing away all traces of tbe mercury, the negative is rapidly plunged into the above mixture, which instantly changes it into a reddish brown, a colour sufficiently non-actinic for ordinary purpose. The general yellow stain imparted by the last process would quite spoil the printing quality of the negative were it not removed: but this is easily done by soaking for a minute or two in a weak solution of chloride of lime, one drachm of a saturated solution and two ounces of water. This it is better to do after drying, and the colour should be watched in daylight, removing the paper the instant that it is sufficiently white. The application of a little cotton wool with gentle friction over the face of the negative helps to remove any free sulphide that would otherwise stain the albumenized paper during printing. We prefer coating it with a little plain collodion as a pre caution against the staining, either of it or of the sensi tized albumen. There is no need to wax or oil such negatives, but they should be well rolled, and considerable pressure is required in the printing frame to obtain sharp prints. There is some advantage in employing cyanotype for printing such subjects, as by its means we have often printed on both sides of a stout paper, and thus easily produced a miniature book without any mounting. As soon as one side is sensitized and dry, the other is also done. In making the cyanotype paper we prefer to use two separate solutions which will keep; the first of potas sium ferricyanide, dissolved in one part to three of water, the other of ferric ammonio-citrate, dissolved in two parts of water. These two can be mixed as desired, but equal parts of each answer the purpose very well. The paper is sensitized by floating, and fixation is effected by mere soak ing in water. Such diminutive music can, as we have pointed out, be produced by a photo-typographic or photo-lithographic process; but our present suggestions only cover those cases in which but a few copies of a subject are required. 8y-the-8ze RAPID PRINTING. Go where one will in photographic circles, printing by development is now the subject of talk, and the general consensus of opinion tends to the view that the methods of printing by development which have been so much dis cussed lately are likely to revolutionise the commercial production of silver prints, as completely as the gelatino- bromide process has brought about a new order of things as regards the making of the negative. One must not, however, depend too much upon the pre vailing notion that albumenised paper has received its death blow because the photographic world has just ex perienced a revolution which it would have been rash to
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