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The photographic news
- Bandzählung
- 27.1883
- Erscheinungsdatum
- 1883
- Sprache
- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- SLUB Dresden
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- Public Domain Mark 1.0
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- urn:nbn:de:bsz:14-db-id1780948042-188300004
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- http://digital.slub-dresden.de/id1780948042-18830000
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- oai:de:slub-dresden:db:id-1780948042-18830000
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- Bandzählung
- No. 1286, April 27, 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 27.1883
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- Titel
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262 THE PHOTOGRAPHIC NEWS. LAPRIL 27, 1883. Paris. They are made there in large quantities, and hence we have looked abroad rather than at home for the changes in form or appearance that have come to us one after another. But there seems no reason why photographers should not themselves control fashion and design in matters of this kind, at any rate to some extent, and if we may judge by some experimental examples we have recently seen of card mounts made in the studio, the affair should not be so difficult, after all. Good designs are of course scarce, but the photographer’s requirements are so simple, that he has taste enough to furnish them for himself should he deem it worth while to study the matter. The making of card mounts is closely connected with the bookbinder’s art, and if we study the latter’s work, it is not difficult to pick up a wrinkle or two of value. Some years ago, it was the fashion to use a figured pattern cloth for binding books. The book cloth was embossed with all sorts of scrolls and fancy patterns which made elegant enough binding; now, however, bookbinders have taken to a so-called satin surface, the cloth being seamed with very fine lines, and the ornamentation in the binding produced by the use of blocks. The blocking is done in a press, and the lines of the block may be impressed in black or other pigments according to taste. The impress of the block gives quite another aspect to the cloth, and the most fanciful designs are obtained with the exercise of a little taste. The bookbinder’s press is an expensive apparatus, and so are his blocks, for it is necessary to employ great pres sure in the work ; but if the photographer were desirous of ornamenting his card mounts after the same fashion, he need go to very little expense over the business. The roller press that he uses for rolling and burnishing supplies the pressure needful, and blocks of paper, card, or tih are all he would require. He would purchase plain card mounts, black or tinted, and impress them, or even gild them, as fancy dictated. The first of our experimental cards is a very simple affair, but still decidedly effective. It is a vignetted bust por trait, mounted simply on a tinted card. The block in this case consists of a piece of coarse sand-paper ; it is trimmed with square corners, and is precisely the same size as the albumenized paper upon the card, but out of the centre is cut an oval of the size of the vignette. As soon as the print has been mounted and rolled, and while the albumen ized paper is yet slightly damp from mounting, the sand paper block is put face downwards on the portrait, and passed through the press. The result is that the portrait itself remains smooth and clear, but, instead of being surrounded by a bare waste of white, it is enclosed in a rugged oval that is both pleasing and artistic. Coarse or fine sand-paper, glass paper, or, indeed, any hard uneven sur face of similar nature, may be employed for the same purpose, coarse designs usually giving the most pleasing results. It would be just as easy to supply twenty portraits with different blocks, as to produce them all of the same pattern, when once the photographer has a supply of these simple tools. The glass square used for cutting the albumenized paper serves in the same way to cut the sand paper block, and any suitable oval may be used for the opening. If necessary, the paper or cloth block may be backed with a sheet of metal when passed through the press, but this is rarely required. In a similar way, square blocks—or rather, oblong blocks—may be made with the same rugged material, and in this manner the margins of the card impressed after the print is mounted. Next comes the use of gold leaf, which requires a little skill in manipulating, and is not, of course, inexpensive ; but some very effective results may be secured with its aid. Dutch metal, bronze powder, and compounds of tin must be eschewed, as most photographers know, since they give rise by decomposition to black and yellow spots on the print, which are very unsightly. Only guinea gold leaf should be employed, if gilding is resorted to by photo graphers. But this can be made to give some charming effects in skilful hands. For wedding parties, dinner menus, and even in the case where showy mounts are desirable, gold leaf may be well employed. The difficulty is to apply a coating of gold size evenly upon the mounted photograph ; but this, after a little practice, may be over come. If the gold size is too thin, it runs ; if too thick, the gold leaf cakes on it, and a yellowish brown stain results. A delicate vignette of a lady, if surrounded by a sharply-cut oval of gold, looks quite Madonna-like, the effect being still further enhanced if only the albumenized paper is gilded, and the deep black mount still forms the margin of the print. A square band, or oval band, of gold around the portrait, is also, in many cases, an agreeable addition, and in one portrait we have seen the whole background was gold leaf; that is to say, the features were in a setting of gold exactly in the same way as the quaint figures one sees on some of the Christmas cards and in the story books issued by Marcus Ward and others In this case the outline of the portrait had been picked out with gold size by the aid of a retouching brush, and the whole of the albumenized paper not covered with the pic ture also covered with the size; gold leaf was then gently pressed over the surface, and after a lapse of some little time the superfluous gold removed with a soft tuft of clean eotton-wool. A most curious effect of relief is secured by this gold background, the portrait standing out as if it had been deeply embossed. Doubtless the best plan of applying the gold size evenly is to pass the prints through a lithographic press, the gold size being applied by roller to the stone, and then printed off on the card mount. Then the gold leaf, when applied, adheres evenly, and the outline is sharp and clean. With his rolling-press, however, the photographer could doubt less contrive a make-shift arrangement whereby the gold size could be printed off on his cards without much difficulty; or, by using a surface of leather, or other similar material, for printing block, it might be possible to apply the gold size to the card in this fashion. But this is a detail that, in any case, would not trouble a clever mounter very much. Next week we commence a series of sketches under the
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