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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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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1289, May 18, 1883
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The photographic news
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- Titelblatt Titelblatt I
- Register Index III
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314 THE PHOTOGRAPHIC NEWS. [MAY 18, 1883. Datent Untelligence. Application for Letters Patent. 2323. Josiah Adams the younger, of Liverpool, in the county of Lancaster, for an invention of “ Improvements in the manu facture of coloured photographic pictures.”—Dated 8th May, 1883. Patent Void through Non-payment of Duties. 1839. Joseph Julius Sachs, of Manchester, in the county of Lancaster, for an invention of “ Improvements in the manu facture of rollers for printing, dyeing, embossing, and other like purposes.”—Dated 5th May, 1880. Patent Granted in Germany. 22,421. F. SrOLZE, of Berlin, for “Photographic vignette masks obtained on diaphanous paper by means of fat ink.”—Dated 11th November, 1882. Class 57. Vignette masks are printed in fatty ink on transparent paper, either the collotypie or the lithographic method being used. Patents Granted in America. 276,311. William H. WALKER, of Rochester, N.Y., assignor to William H. Walker and Co., of the same place, for “ A photo graphic camera.”—Application filed 16th June, 1882. No model. 276,433. Wm. McCAINE, of St. Paul, Minn., assignor to Helen J. McCaine, of the same place, for “ A process of treating pyroxyline compounds.”—Application filed 11th September, 1882. Specimens. 276,455. George S. North, of South Norwalk, Conn., for “A photographic camera.”—Application filed 24th February, 1883. No model. Specifications Published during the Week. 4562. L. H. Philippi, for “Producing relievos with equally deepened excavations.” My invention relates to improvements in relievos which are produced by etching, and the object of my improvements is to etch the figures of such relievos to an uniform and equal depth. To attain this object I cover a plate made of any suitable material that will not be affected or corroded by the etching acid, with a layer of the material to be etched. I thereby observe that such layer is spread equally over the above non-corrosive base-plate and of an uniform thickness. Then I cover the layer with a protecting couch of etching-varnish, gelatine, printing-ink, &c., which is afterwards removed at all the places where the layer is to be etched in order to produce the design on the plate. The design may be transferred on such protecting couch by several means: when the protecting layer consists of etching varnish, it is to be scraped off on the places to be etched ; when chronatized gelatine is employed, the places to be deepened are to be covered against the influence of light, and the gelatine then washed out; instead of chromatized gelatine, also a solution of asphaltum may be used, and the photograph produced thereon; or the design may be printed on the layer by employing a very consistent printing printing ink. When a plate thus prepared is exposed to the etching acid, the upper layer will be eaten away at all the points that are not covered by the protecting couch, but the excavations thus produced cannot go further down, or penetrate further than to the non-corrosive base. 4608. J. Mayer, for “ Apparatus for obtaining artificial light.” Relates to mode of producing the lime light, but it is difficult to single out any novel points. The apparatus somewhat resembles that of Khotinsky (see page 31). The jet is vertical, the flame being directed upwards, and a cylinder of lime is held in a kind of clip, the flame thus impinging on the end of the lime. 'TWELVE ELEMENTARY LESSONS ON SILVER PRINTING. Lesson IX.—Mounting, Mounts, and Mountants. Mmmtinrj.—Partly through photographic paper not being stout enough to withstand the wear most photographs are subjected to, and for other reasons, it has been found advantageous in the majority of cases to attach them to some kind of support which shall confer the desired strength, at the same time enhancing their value as works of art; such a process is termed mounting. There are several systems of mounting in vogue among photographers, but they may be all classed under two headings, and for convenience we will call them the dry and wet methods. The first-named of these consists in drying the photograph (an operation to be mentioned hereafter), applying some such substance as good starch paste in a manner calculated to give an even surface free from grit, hard clots, hairs, &c., and either attach it to the cardboard or other support immediately, or permit it to dry spontaneously, attaching it to the mount at any time after wards that may be convenient. If the amateur desires the latter plan, he must proceed as follows :—Pass a wet sponge twice over the cardboard mount where the photo graph is to rest; place the print in the required position, and press it gently to ensure its retaining that position. Having done so, pass them both through a rolling press, which completes the operation. The photograph should be uppermost, and the operation performed quickly, to prevent any chance of tearing under the roller ; one advantage this system has over others being that no un equal stretching takes place in the print. The second, or what we will term the wet system, may be briefly stated thus:—Each print should be placed separately, face downwards, on a clean wet linen cloth, the superfluous water being blotted off by the same; then the mounting substance applied to the backs of as many as can be conveniently managed—say three or four — after which they are placed in the desired position on the mount, and pressed down by means of a paper-knife and sheet of white paper; the operation being repeated so long as any prints remain on the cloth. Whenever possible, we advise two persons to perform the operation, one to apply the mountant, and the other to attach the print to its support; it will not only make the work more agree able, but it will reduce the chances of the albumenized surface being touched with some of the mountant, provided both persons are equally careful. Should such a mistake occur, the excess must be removed immediately by means of a wet sponge, as it may interfere with the after-opera tion of burnishing, &c. Another plan is to transfer the print from the final washing water to a glass plate, albumen side being down wards (as many as fifty, or more, may lie on the top of each other without danger) ; drain for a few minutes ; the top print may then be brushed all over the back with some of the mountant, lifted by a corner, and placed in its proper position on the mount. It should then be well rubbed down with the paper-knife until even—a piece of writing paper placed between the photograph and knife during the rubbing prevents scratches or tears—apply some of the mountant to the next, and repeat until all are finished. This will be found a very convenient mode when only a few dozen are to be mounted. Besides the term “mounting,” we use the words “ mount” and “ mountants.’’ Mounts.—There are several kinds of mounts. For instance, the C.D.V., or cabinet mount, which allows only a small proportion of margin to be seen beyond the edges of the photographs ; also the India-tinted, and other flat mounts, in two colours. The photograph is mounted in the centre, surrounded by an inch or two of pale buff or neutral colour; outside this tint a grey or white margin surrounds the whole. There are also plain, imitation flock, and cut-out mounts, besides many others; but we have named enough for illustration. All the mounts we have mentioned, except cut-out mounts, are intended to receive the photograph on the surface. They should be so attached that no air spaces can be observed when examined; neither can ridges or lumps of any kind bo permitted, or traces of the mountant be seen on the surface or margin.
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