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The photographic news
- Bandzählung
- 27.1883
- Erscheinungsdatum
- 1883
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- Englisch
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- F 135
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1285, April 20, 1883
- Digitalisat
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Zeitschrift
The photographic news
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Band
Band 27.1883
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- Titelblatt Titelblatt I
- Register Index III
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Band
Band 27.1883
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- Titel
- The photographic news
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April 20, 1883.J THE PHOTOGRAPHIC NEWS; 253 of this, and draw another perpendicular to it, and equal in length to the focus of the lens to a point, say C ; join C A C B. Now you can select any size on this for your meter ; the length of focus bar will also be measured from the same point. For the height of the meter measure off from centre of A B, the half width of plate, and join these points with C as before. I have had no experience with doublet or wide angle lenses, but for rapid rectilinear or triplex now get pretty correct results. By adjusting the opening to the mark corresponding to the size of the plate and lens intended to be used, and holding the meter so that the end of the bar just touches the cheek, you see at once the exact amount of subject, that will come on the plate. There are, as you know, very many forms of these meters, from the well got up articles with eye-pieces to be had of photographic dealers, down to the simple piece of string with knots in it which I saw mentioned the other day ; still I venture to think this little thing is as simple as any, and most accurate. In the centre of it, on the lower edge, you will notice a triangular piece ; this is to assist me in determining the centre of the picture, and to be a guide in using the next instrument which I will bring to your notice—viz., the camera director, which consists of four parts: 1st, a brass plate to attach it to the camera; 2nd, a piece of brass tube to carry the rising rod; 3rd, the rising rod ; and 4th, the director, which I may say, had better be made of some white metal, being more easily seen than simple brass. The parts fold so as to be easily carried in the pocket. Now I am fully aware there are many appliances for ascertain ing the position of the object on the plate ; yet they all more or less entail much extra weight and bulk, while this little thing only weighs one ounce, and is not bulky. One of its advantages is, that it allows you to cover up your camera if there is a bright sun, and at the same time you get a true guide to the object you wish to take. For some time 1 only used a hinged arm on the focussing frame ; this was no use when the camera was covered, as it ought to be, and the result was I often got the subject too high or too low, which spoiled the picture. To use the director, I attach it to the camera by the screw of the rising front. If you use a drop shutter, as I do, raise the rising rod till it clears the top of the shutter when set, and turning the camera to any ob ject, observe what is in the position on the glass you would wish your subject to be in. Point the director to this, and screw up firmly, and it is ready. If you are using a large camera on a stand, set it up with two legs in front of you, the third leg directly towards you ; and as the ship or moving object comes on, by moving the leg next you a trifle to or from you, the director can be got exactly in position, and at the same time the level, as far as horizon goes, not altered. The small views I now show you were taken without a stand, the top of my walking-stick (a common one) doing duty for one. I never looked through the camera after once setting the director, the meter being my guide in all cases. Eorxespondence. PHOTO-ETCHINGS AND PHOTO-ELECTROTYPES FOR POTTERS’ USE. Dear Sir,—Mr. Emery’s note in the Photographic News, vol. xxvi., page 761, on “Methods of Transferring Vitrifiable Prints to Pottery,” brought to my notice his previous suggestions, published at page 612, “ Decoration of Pottery by Photography,” which had previously escaped my attention, otherwise I should have written before now on the subject, as Mr. Emery describes methods employed by Mr. Scamoni as far back as 1874. In that year, Mr. Scamoni used several of his helio-engraved plates for making transfers upon stove tiles, which, however, was no easy task, owing to the glazed surface presenting no bite or hold for the ink; ordinary litho-transfer paper was used, and in the washing off the coating used in the preparation of the same, it was found that the fine lines were removed at the same time, as they did not have sufficient affinity for the vitrifiable colour. After a few experiments, however, this difficulty was overcome by the use of a suitable substra tum, and the finest hair lines in a bust portrait after “Dow” were successfully reproduced. Of course the transfers were burnt-in at the potteries, and it was during a visit to Mr. Kharlamoff's establishment in this city, that we saw some plaster moulds, with out lines upon them in relief, for making terra-cotta vases which were to receive a transparent over-glaze. At once the idea occurred to us that similar moulds could ba made either by the aid of the swell process, or from a washed re lief,if a positive was used; and naturally enough we spoke of saturating the casts with paraffin or wax, or coating them with varnish to make them more durable ; but Mr. Khar- lamoff explained to us that which I have no doubt did not strike many of your subscribers while reading Mr. Emery’s paper, viz., that it was the porosity of the plaster, and its property of absorbing moisture quickly, that caused its em ployment, as the wet clay adheres very tenaciously to any homogenous surface; but directly the plaster had absorbed a portion of the water contained in the clay used, the im pressed form left the mould easily, and that as soon as the plaster became saturated with moisture it was necessary to replace it by another mould while that was being dried. Our first experiments were with some reproductions of those excellent drawings of animals contained in Vere Forster’s drawing copybooks, which, being executed in bold lines, lent themselves admirably, and, moreover, were very fitting subjects for stove tiles, beer mugs, spill-holders, &c. For transferring, Mr. Emery says that one must be sure to obtain the lines deep. I imagine that it is not altogether depth, but “ bite” or grain in the lines that is necessary, as some helio-engraving processes give very smooth surfaces where broad bold lines are reproduced. Several means of producing grain in helio-engravings are given by Mr. Scamoni in his “ Hand-Book of Helio Engraving,” but in the German language, which, by-the-bye, is greatly to be deplored, as a very small amount of its valuable contents has found its way into English photo graphic literature. I would warn experimenters to have their plates steel surfaced before submitting them to the hands of the printer, if for press printing, as galvanic deposits are far from being so durable as hammered copper ; and enamel glass, how ever finely levigated, wears a plate out much sooner than ordinary printers’ ink. We have only had one opportunity of trying to transfer to stoneware biscuit, and then we were induced to use a mixture of glycerine and honey instead of oil, to allow of the piece being fired direct instead of first putting them in the “ harden kiln ; ” the prints were pulled on India-paper, and transferred while damp, but did not fulfil our wishes. The modes of press and bat-printing, described by Mr. Emery, are more fully treated in Dr. Ure’s Dictionary, articles “ Porcelain and Pottery ; ” and a good printing oil for pottery may be found in Spon’s “ Workshop Recipes,” by those who would not like their plates to go into other hands. The adaptation of the Woodbury process to the decora tion of glass was experimented on by a gentleman who, I believe, was the late M. Poiteviu, at the ateliers of Messrs. Goupil, at Asnieres, in the early part of 1870 ; honey, sugar, dextrine, and some other substances were employed; but with what results I am not able to state, as 1 merely assisted in making ready the moulds. Perhaps Mr. G. Smith could tell us more about them, as he took a very active part in the Woodbury type department of that establishment at the time. C. T. Chesterman, Assist. Helio-Engraver, State Enper Dep., St. Eetersbiirgh. MIGNON MOUNTS. Dear Sir,—I see several enquiries about the small mounts for mignon portraits. We have been making them for some time in various styles, so that from anyone who wishes for them I shall be happy to receive orders. There is no occasion to go to Paris for mounts in these days. I think we can produce them of quite equal quality, and at a lower price.—Yours truly, C. E. Elliott.
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