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The photographic news
- Bandzählung
- 27.1883
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- 1883
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1285, April 20, 1883
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The photographic news
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- Titelblatt Titelblatt I
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FRENCH CORRESPONDENCE. Gelatine Plates Treated with Eosine—Changes in Gelatine Negatives — Chromotype — Photometric Apparatus—Gaillard Competition—Preservation of Hypo-Bath. Gelatine Plates Treated with. Eosine.—As the last meeting of the Photographic Society of France were presented in the names of MM. Clayton and Tailfer, two photographs of the same piece of material striped with deep blue, light yellow, orange, and violet. The ordinary photographic impression of such a stuff would give the effect of the blue being paler than the light yellow, and violet lighter than the orange. One of these two prints from an ordinary gelatino-bromide plate gives this effect. The other photograph from a specially prepared plate gives the true relative luminosity of the colours ; that is to say, the yellow, a hue more luminous and lighter in tone to the eye than deep blue, is rendered by a tone conforming to this effect. It is the same with the orange and deep violet. The reagent employed by MM. Clayton and Tailfer to modify the nature of the sensitive film is eosine, a sub stance already indicated with this intent in 1876, in the Photographic News, by!Major Waterhouse. M. Sarrault has actually used it on collodion plates ; but the inventors named above, in applying it to gelatine plates, have had recourse to ammonia as a solvent for the eosine. To the emlusion 1 per cent, of this solution is added, and after wards proceed in the usual way. With plates already coated, the solution must be mixed with alcohol, and the liquid spread over the surface of the plate, and afterwards washed in water. It is to be hoped that these plates will come into general use, as the important result obtained gives a truer reproduction of the relative luminosity of various colours. The error will thus be avoided, in our present sensitive films, of treating light yellow, red, and green, as if of darker tone than in reality. The re production of pictures will gain much by this, and poly chromatic applications of (photography will be also considerably improved. Alteration of Gelatine Negatives.—Just now one is much pre-occupied by the changes taking place in gelatine nega tives. Serious disasters have been caused in several studios. Careful washing of the negatives must be insisted upon, terminating with an immersion in a ten per cent, chrome-alum batb, and a final rinsing in water. It is said that by avoiding bichloride of mercury for intensifying, the source of destruction of negatives will be removed. The application of normal collodion as a varnish is preferable to all others for protecting negatives from damp. Without such precautions, negatives are likely to become spoilt, and the process employed is made to bear the blame ; but before judging hastily, see that not a point has been neglected in washing, &c. Chromotype.—Chromotype, now in high favour in Eng land, has begun to make considerable progress in France. The following is a simple method of making chromo phototypes. The paper used is that known as white quad rille, manufactured by Angerer and Goschl, of Vienna, and Gillot or Michalet, of Paris. On this paper are traced as many phototype prints of the subject determined upon as there are to be colours in the chromo-phototype. These tracings are a means of having the exact reproduction of the subject, and an indication of the shading. Each tracing is worked with the pencil or brush just as upon lithographic stones in the execution of a chromo-lithograph. By this means each monochrome is obtained corresponding to one of the colours to be used. When the designer’s work is finished, it is reproduced in the camera, and the negatives serve as typographic negatives, the superposition of which, when printing, gives the desired effect. Every chromo lithographic designer may by this process, and without any difficulty, bo able to work chromotype. Instead of using white quadrille paper, a grained paper may be employed. 1 f these designs are meant to serve as engraving plates in chalk for ceramic photography, the process is exactly the same, only positives are taken from each negative, and give an inverse effect upon plates of bitumenized zinc, and chalk engravings capable of being printed with special inks are obtained. Photometer.—I have just had constructed a photometric apparatus for measuring the intensity of light at different depths of the sea, rivers, lakes, &c. It consists merely of a disc round which gelatino-bromide paper is rolled. The disc is fitted vertically in a case having a rectangular opening at the top, The disc is mounted on a horizontal axis around which it turns, the movement being given by an electric current as used for electric bells. Each contact produces a slight rotatory movement of the disc, and brings under the opening a fresh portion of paper. The opening is covered by a small shutter, acting simul taneously with the disc, closing automatically. The whole is enclosed in a glass case, hermetically sealed, allowing only the conducting wires tied to the suspending cord to pass through. Suitable weights are attached below the apparatus. The suspension cord bears metrical divisions, so as to indicate successively the various depths at which experiments are made. A commutator placed at the post of observation permits of the working of the apparatus under water at all depths. The paper band is afterwards developed, and it only remains to compare the various tones with a graduated scale like our photometer. Gaillard Competition.—The Photographic Society of France finds itself for the third time bound to declare the Gaillard prize insufficiently competed for ; it is therefore not awarded. It is to be hoped that this will not prevent researches from being made to solve the problem of sensi tive pellicle films. What has been previously stated about Thibaut's reversible pellicle paper process that it is not far from reaching the desired aim. Leon Vidal. ARTISTIC PRINTING. by b. OFFORD. It has often been advanced by some of those who possess, or claim to possess, the true spirit of artistic taste, that one element of decided failure in the purity of artistic effect in photographic portraiture, is to be found in the—to them— painfully clear-cut sharpness, so dear to the majority of photographers. Without entering into the merits of the point in question, it may possibly meet the case of some who have accepted the idea as an axiom in art, to point out a simple plan of avoiding the effect so condemned. Years ago, several elabo rate contrivances were designed in the way of printing frames for this purpose, involving some extra expense in their purchase, and trouble in their use. The plan now proposed and tried is simplicity itself, necessitating only the possession of some thin sheets of gelatine, or, better still, of those so-called “ivory” leaves used in the production of Christmas cards, and sold for decorating with oil colours. They are gelatine, matt one side and bright the other, and are obtainable at almost any stationer’s. The mode of pro cedure is similar to that employed in the printing of fancy borders, &c., with paper negatives. The head and bust should be sharp.all over. The sensitized paper is fastened to one end of the negative by a strip of gummed paper, and the printing commenced in the usual way. When about one-third or half done, the frame is opened, and the strip of gelatine introduced between the negative and print. The matt surface increases the effect if placed against the nega tive, so that its position is a matter of taste. The frame is then closed again, and the printing finished. By varying the times of the two exposures, varied results can be obtained, and the gelatine can be removed and replaced again as seems necessary. In cameo vignettes, it is certainly a relief to do away with the sharply-defined oval line of disc, and at the same
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