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The photographic news
- Bandzählung
- 27.1883
- Erscheinungsdatum
- 1883
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- Englisch
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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. 1291, June 1, 1883
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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
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June 1, 1883.] THE PHOTOGRAPHIC NEWS 341 balloon down to a lower altitude as we pass over Kingston. We continue sinking as we approach Hampton Court, the maze of which appears as on a plan beneath our feet. Crowds of people line the streets in all directions, and accord us a hearty welcome as we glide slowly over their heads ; but the balloon is falling too rapidly, and must be raised if we are to clear the town without mishap ; so while Mr. Dale stands by in readiness to open the valve as soon as the proper time for so doing shall arrive, at his request I take up a bag of sand, and pour half the contents thereof over the side of the car, upon the heads of whoever may happen to be beneath, little thinking, as I do so, that on calling in at a dairy for a draught of milk on returning through the town, I shall be accosted by the young woman in charge with the remark, “ I think you must be the gentleman who had the pleasure of dropping sand into my eye just now!” Meanwhile, Mr. Burney, who is watching the barometer, assures us that the balloon has taken an upward turn, and so we cease throwing out ballast; and having cleared the village, make preparations for the descent. “That will be our field,” says Mr. Dale, painting to a nice open space not far distant, as he tugs away at the valve-line, I bending over the side of the car, and watch ing for the rope which hangs beneath us to touch the ground, that being the signal for letting go the anchor. It is a question whether we shall be sufficiently low to catch the hedge we hope to ; but seeing the rope just graze the top of it, “ Over now !—quick !—you have it 1 ” I cry « Just missed! ” the latter remark following the fall of the grapnel. But no matter, its pointed flukes soon take hold of the turf, and in a few moments more our journey is brought to a successful termination. There is no lack of willing hands to render us the neces sary assistance for emptying the balloon of its gas, and packing it into the car we have lately quitted ; and a short time afterwards, the “ Sunbeam,” having been hoisted into a cart, is jogging along merrily to the Hampton Court station. Judging from the amusing remarks which frequently reach the ears of an aeronaut as he descends to the ground, it would appear that a certain air of the mysterious attaches itself to his personage. “ They be the ones!” “ Wonder how they liked it 1 ” “ Guess they found it pretty cold up there ! ” “ Heard him say we looked like emmets ! ” &c are specimens of what he often hears; and the curiosity of the good people of Moulsey certainly proved no exception to this rule, though, from the kindly recep tion accorded us, we all agreed, when seated in the train on our way home, that if ever our flight lay across the same district again, we could wish for no better place at which to effect our descent. HOT WEATHER DEVELOPMENT. BY SAMUEL FRY. Each year, on the recurrence of warm weather, a cry of dis tress goes up from a number of gelatine plate-workers that they get green fog, and, of course, it is the fault of the plates. All makers alike are blamed. That this is caused by development alone, and not from faulty plates, is shown by the fact that plates of known good quality, giving excellent results in cool weather, have been found to yield inferior negatives in hot weather. The manner of development, then, is the cause. It will be remembered by collodion workers that during summer, disturbances to their work of a very similar kind occurred from the same cause. Now, we may bear in mind that sodic sulphite was introduced as a complete remedy for green fog; but wide divergencies of opinion were expressed, some even going so far as to say it produced green fog, whilst others found it grievously slowed the development. This seems to have arisen from want of complete examination into the manner of using it—in fact, the real clue was missed. The following method of mixing pyro and sodic sulphite give 8 even more developing energy than without sulphite,' and yields, to a certainty, negatives of the exact oxalate or wet collodion colour, whose printing power can be exactly judged, and has the advantage of being similar to the re touching pencil. Make a saturated solution of sodic sulphite by pouring on the crystals boiling water, and adding to each pint 1 dram of acid citric; when lukewarm, pour 15 ounces of this on an ounce of pyro—this is the usual stock solution, to be mixed with water 1 to 15 for use. For the bromide and ammonia, the same I have before given in these columns may be used, viz. : — Bromide am. ... ... ... 300 grains Ammonia ... ... ... ... 2 ounces Water ... ... ... ... 12 ,, so that for use take (say) 4 ounces water, and pour in 2 drams of each stock solution, and develop with it. It of course remains clear and bright, and the negatives are of excellent colour. It may be noted that by this system, on looking down on the finished negative, it often has a rusty iridescent look ; but on looking through, is quite clear. ON THE PRODUCTION OF PHOTOGRAPHIC PORTRAITS FOR COLOURING. BY CLIFF. “ I wish that your photographers would pay a little more heed to the kind of prints you send us to paint.” This was the speech with which I was greeted a few days since by an old friend of mine, and a well known colourist to the pro fession. Knowing his nature, I thought it might be to the interests of the profession if I drew from him a few remarks as to the quality of prints he and his fellow-artists con sidered most suitable for working upon. 1 therefore re marked, that he was an inveterate grumbler, and was growling for mere growling sake. “I tell you what,” said he; “supposing I give you an artist’s idea on the subject ; will you, on your part, endeavour to bring them before your photographic brethren ? ” I replied that I would willingly do so, and he then commenced. “ Most photographers send us a washed-out print, under the impression that we prefer it; the impression is a wrong one, for what we mostly prefer is one printed just to the right depth for a plain print, neither darker or lighter.” “ Are you referring to enlargements or direct prints ? ” I queried. “ Direct prints," he replied ; “ and, what is worse, is the fact that only about 50 per cent, of our clients send us a guide at all when a direct print is in the question, and yet they expect us to keep the likeness, or otherwise to alter the picture after inspection without any extra charge. Those who do send guides, only send one; whereas to ensure the best result they should send us two, one printed for the light, and one for the shadows.” “ Do you prefer a soft picture or not ? " I again queried, and was met with the reply that as a rule artists preferred what a photographer would call a hard one ; that is, with pure whites in the face. “ We can put in the half-tones much batter on a picture of that class,” he continued, “ than on a soft one, and if the protrait is larger than a cabinet, a carbon print is far preferable to a silver one, for if silver be the basis of the print, we should prefer it on plain paper to albumenized.” " With regard to retouching the negative ? ” suggested I. “That,” responded my friend, " is so much labour for less than naught, for we much prefer an untouched print, as it is a great deal easier for us to soften the lines than to have to put them in, as in many cases we have to do owing to the lack of anatomical knowledge on the part of the majority of retouchers. It is very rarely that we get a decently vignetted print sent us to colour, as it seems to be thought that any defect in vignetting can easily be made up by us. Why, in
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