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The photographic news
- Bandzählung
- 27.1883
- Erscheinungsdatum
- 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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- SLUB Dresden
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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
- Ausgabe No. 1270, January 5, 1883 1
- Ausgabe No. 1271, January 12, 1883 17
- Ausgabe No. 1272, January 19, 1883 33
- Ausgabe No. 1273, January 26, 1883 49
- Ausgabe No. 1274, February 2, 1883 65
- Ausgabe No. 1275, February 9, 1883 81
- Ausgabe No. 1276, February 16, 1883 97
- Ausgabe No. 1277, February 23, 1883 113
- Ausgabe No. 1278, March 2, 1883 129
- Ausgabe No. 1279, March 9, 1883 145
- Ausgabe No. 1280, March 16, 1883 161
- Ausgabe No. 1281, March 22, 1883 177
- Ausgabe No. 1282, March 30, 1883 193
- Ausgabe No. 1283, April 6, 1883 209
- Ausgabe No. 1284, April 13, 1883 225
- Ausgabe No. 1285, April 20, 1883 241
- Ausgabe No. 1286, April 27, 1883 257
- Ausgabe No. 1287, May 4, 1883 273
- Ausgabe No. 1288, May 11, 1883 289
- Ausgabe No. 1289, May 18, 1883 305
- Ausgabe No. 1290, May 25, 1883 321
- Ausgabe No. 1291, June 1, 1883 337
- Ausgabe No. 1292, June 8, 1883 353
- Ausgabe No. 1293, June 15, 1883 369
- Ausgabe No. 1294, June 22, 1883 385
- Ausgabe No. 1295, June 29, 1883 401
- Ausgabe No. 1296, July 6, 1883 417
- Ausgabe No. 1297, July 13, 1883 433
- Ausgabe No. 1298, July 20, 1883 449
- Ausgabe No. 1299, July 27, 1883 465
- Ausgabe No. 1300, August 3, 1883 481
- Ausgabe No. 1301, August 10, 1883 497
- Ausgabe No. 1302, August 17, 1883 513
- Ausgabe No. 1303, August 24, 1883 529
- Ausgabe No. 1304, August 31, 1883 545
- Ausgabe No. 1305, September 7, 1883 561
- Ausgabe No. 1306, September 14, 1883 577
- Ausgabe No. 1307, September 21, 1883 593
- Ausgabe No. 1308, September 28, 1883 609
- Ausgabe No. 1309, October 5, 1883 625
- Ausgabe No. 1310, October 12, 1883 641
- Ausgabe No. 1311, October 19, 1883 657
- Ausgabe No. 1312, October 26, 1883 673
- Ausgabe No. 1313, November 2, 1883 689
- Ausgabe No. 1314, November 9, 1883 705
- Ausgabe No. 1315, November 16, 1883 721
- Ausgabe No. 1316, November 23, 1883 737
- Ausgabe No. 1317, November 30, 1883 753
- Ausgabe No. 1318, December 7, 1883 769
- Ausgabe No. 1319, December 14, 1883 785
- Ausgabe No. 1320, December 21, 1883 801
- Ausgabe No. 1321, December 28, 1883 817
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Band
Band 27.1883
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346 THE PHOTOGRAPHIC NEWS. [June 1, 1883. fatty or waxy image which I transfer to the surface of the bitu- menised metal, and I find that the fatty image not only protects the bitumen film from light, but also exercises a softening action on the aforesaid bitumen film, so that the development or dis solving away of the unaltered bitumen can be effected with greater facility than when a chemically inactive transparency is made use of. The practical result of this is to reduce the ex posure required. The fatty image, which serves to protect the bitumen film from the action of the light, and at the same time to soften those portions of the film on which it rests, may be either transferred to the bitumen surface just as a typographic, lithographic, or plate impression is ordinarily transferred to a stone, or it may have been originally printed or written on a transparent substance, such as tracing paper, talc, or sheet gela tine. In these latter cases the image side should be laid next the bitumen film, so that the softening action already referred to may take place. In some cases I produce the fatty original direct on the bituminised plate by writing or drawing with a fatty ink or material. Any fatty material which contains a tolerably opaque pigment may be used, but I prefer to use the ordinary colour as used by potters in printing from their copper plates. I ordinarily take impressions on the usual potter’s tranfer or tissue paper, and transfer this to the bitumenised metal, just as I would transfer it to a piece of pottery, after which I remove the paper basis in either one of the usual ways well-known to potters, so as to leave nothing but the dense fatty image on the bitumen surface; I then expose it to light fora sufficient time to render the bitumen insoluble where not covered by the fatty image, after which I treat with oil of turpentine, benzole, or other similar solvents, until the fatty image and the underlying portions of bitumen are removed, after which I etch till the re quired depth is attained. Having now described the nature of my invention, I would have it understood that I claim as novel and original the use of a fatty image as a resist against the action of the light, and as a simultaneous softener of the bitumen film substantially as herein described.—Provis. Protection only. TWELVE ELEMENTARY LESSONS ON SILVER PRINTING. Lesson XI. Spotting.—By this term we do not mean that spots, black or otherwise, are to replace the white ones, so often occasioned in the preparation of silver prints—the causes of which are varied—but the removal, by means of water colour, of all objectionable spots, lines, patches, and other inequalities. The operation may take place either before or after rolling, if that mode of finishing be adopted; but many persons prefer to do the spotting first, in order that, when finished, the surface shall be equal, or, in other words, the dull marks caused by the spotting-out brush will not show. The same may be said in the case of burnishing ; but if the burnisher is used very hot, the touching colour will become a shade warmer than the photograph, necessi tating its removal. As the print in such a case would require re-spotting on the burnished surface with a suit able colour, to match the colour of the photograph, and containing more gum, obviously, the time occupied in the first work would be wasted; therefore one or two trials may be made to indicate the shade of colour necessary to match prints of any particular tone. More over, it will be found easier to touch out a spot on an unrolled print, on account of the surface being more spongey. The colours employed are the same as those we mentioned in the last Lesson—viz., Indian ink, Indian red, and neutral tint, mixed with dilute gum water or albumen until the desired tint is obtained. Ivory black may be added if desired. For warm-toned photographs Indian red will predominate, whereas blue or grey-toned photo graphs require a larger proportion of neutral tint. The lakes, although useful for obtaining exact shades, are not sufficiently permanent, therefore do not use them; all that is necessary can be easily done by means of the above mixture. Commence by lightly stippling out a white spot in the half-tint, using only the point of a small sable pencil charged as previously described for the purpose. When finished, it should be difficult to detect where the spot ex isted ; but if it is visible, and just a trifle lighter, it may be remedied by one or two light touches of the brush, after taking up the smallest possible quantity of colour from the palette. On the contrary, if the spot is easily discerned by being darker than the surrounding portion, remove it entirely, and start afresh. Patience is absolutely necessary if one wishes to spot prints well, for it is cer tainly a tedious operation; therefore, we say, persevere with the first spot until perfection has been attained, then all the others will become easier. Next to spots, it may be necessary to subdue a too prominent light, which we will call a patch ; when small, stipple in with the point of a brush slightly charged with colour; but when the patch to be worked on is large, cross hatching will be found quicker and better. Charge the brush well with colour, and make short strokes in the same manner as the down strokes of a pen, commencing at the top with three short strokes, crossing them with two in the opposite direction. Proceed in this way until the pat sh has been covered; when dry, stipple lightly between the short strokes by means of a fine-pointed brush containing very little colour, until the whole is perfectly levelled. Black spots may be covered with Chinese white slightly toned down with a little of the ordinary touching colour. Working up to almost any extent may be per formed by persons possessing the necessary taste and skill. Shadows can be strengthened with neutral tint, or ivory black mixed with gum ; lights may be worked over with Chinese white, the middle tints stippled with ordinary touching-out colour, and where needed, such as the shadows in the face, a mixture of black and white. Whether spotting is done before or after rolling or burnishing, an encaustic paste is useful to have ready, for several reasons ; dull spots caused by extra touching, or by finger marks, may be easily removed, the surface becoming brighter than with burnishing alone. What is of greater importance, how ever, is the permanence it is said to confer. Many persons claim that, when the pores of the paper are filled with wax, the photograph is protected, to a large extent, from atmos pheric influences. Besides polishing photographs, it will polish the apparatus, if applied with a little friction. Encaustic paste is essentially bees'-wax reduced to a paste with one of its solvents, such as turpentine, and however much it may savour of furniture cleaning, it will be found quite as useful for putting a fine polish on a photograph, let it be new or old. An excellent paste may be made as directed in our Everyday Pormulary, i.e : — White wax 1 ounce Turpentine 5 ounces Dissolved by gently heating over a water bath; when cold, it is ready for use. If the smell of turpentine is objectionable, one ounce of spike oil of lavender may be substituted for a similar quantity of turpentine: the result will be the same. Apply the paste to the photograph by means of a small piece of flannel, rubbing it lengthways, but all over; then work in a circular direction, using the same flannel, until the wax appears to be all rubbed into the print. Make a pad of clean flannel, and lay on the friction for a few seconds, working as before in a circular direction ; if you get tired, don’t make a halt on the print, or it may cause a mark ; if the polish is not satisfactory, apply more wax, and repeat the operation, finishing off with a clean piece of old cambric. Everyone has heard of Adam-Salomon, the great master in portrait photography, and who has not heard of his celebrated encaustic paste? In case there be such, we will give the formula for their benefit:— Pure virgin wax ... ... 500 parts Gum elemi 10 » Benzole 200 ,, Essence of lavender ... ••• 300 „ Spike oil of lavender 15 »
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