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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. 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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348 THE PHOTOGRAPHIC NEWS. pencil, HHH, having a good point. When the varnish refuses the pencil, resort to a touch of medium, and try the pencil again ; large spots can be filled up more easily with water colour, using carmine or vermilion, until the density of the surrounding part is attained. Sides.—When clouds require strengthening it can be done on the varnish, using the stump and powdered graphite. When more work is needed than can be done with the stump, Indian ink rubbed up with gum water, and applied with the brush, will answer, or the back of the plate may be coated with equal parts of gold size and turpentine, and, when nearly dry, stump the portions necessary with graphite. The highest lights, when not strong enough, in studies of waves, waterfalls, sails, &c., may be improved by the same means. Foliage.—When negatives of foliage lack sufficient detail, it maybe supplied in a measure by marking it in with a soft pencil, such as BB. Shadows which print too darkly are better treated as recommended in Lesson V., by being protected during printing. Portraits.—Modelling the flesh portions in portrait negatives will require a good deal of skill to obtain the best results ; and, when the negative is of value, it will be better to put it in the hands of a professional retoucher, than to run the risk of spoiling it by inexperience. Before commencing the negative, a silver print should be taken off, and any shadows or marks that may be considered objectionable noted, after the negative has been spotted ; if any spots exist, proceed to remove or soften the shadows noted, commencing always at the top of the fore head, and work gradually downwards, using a finely pointed pencil for the purpose. As it is not possible to name any particular pencil, it will be better to try one of medium hardness, such as H H ; and if that does not suit the varnish, try another. The same remark applies also to negatives worked on retouching medium. Do not dig holes in the film, but let the touch be as light as the unaccus tomed hand will permit. Make the strokes short, and in one direction throughout; any corrections can be made by filling up afterwards; but be very careful only to remove the shadows and other markings noted before commencing; also not to work the pencil or medium up in lumps. When one uniform touch has been maintained throughout, without destroying the force of the lights or half-tones, simply raising them a degree, at the same time removing the objectionable parts, another print may be taken and compared with the first, after which any necessary altera tions may be made; the other flesh parts, viz., arms, hands, &c., are treated in a similar manner to the face. From under-exposure detail is often wanting in the hair and draperies; this may be supplied in the same manner as suggested when dealing with foliage. Lace usually requires strengthening in the lights, and for this purpose the pattern should be traced either with a soft pencil or a brush charged with Chinese white. As the student pro gresses in the art of retouching, he will be better able to appreciate the points we have brought under his notice, and no doubt he will discover many other points not enumerated here, where judicious touches of the brush or pencil will considerably add to the artistic merit of his negatives. In Lesson XII. we shall deal with the subject of residues ; also an accurate method of ascertaining the amount of nitrate of silver contained in the sensitizing solution or any other bath containing silver nitrate. CITY AND GUILDS OF LONDON INSTITUTION. The Technological Examinations for 1883, in connection with the above College, took place on the evening of Wed nesday, the 30th ultimo. We are pleased to announce that the number of students who took part in this year’s photographic section is con siderably larger than at any of the previous examinations. JUXE 1, 1883. This fact goes a long way towards proving that working photographers are ready to avail themselves of opportunities to improve their knowledge, when such are placed within their reach. The examination consists of two grades, Ordinary and Honours, certificates (first and second class) being awarded in each grade. PaIZES. Honours.—1st priza, £5 and Silver Medal; 2nd prize, £2 and Bronze Medal. Ordinary.—1st prize, £3 and a Silver Medal; 2nd prize, £3 and Bronze Medal ; 3rd prize, £2 and Bronze Medal; 4th prize, £1 and Bronze Medal ; 5th prize, Bronze Medal. The following questions were given by the examiner:— OEDINARY, ok Pass Grade. 1. Suppose the ground glass focussing screen of your camera to be broken, how can you make a temporary substitute for it ? 2. In the wet process, where a collodion is too strongly iodized, what results are observed on the plate, (1) after its withdrawal from the bath, (2) after development ? How should you correct the collodion ? 3. Describe a method of ascertaining the strength of the silver sensitizing bath more accurately than by the argentometer, and point out the defects of this instrument. 4. After developing a gelatine plate with ferrous oxalate, and after fixing and drying, there may be an opalescent appearance in the shadows. To what is this usually due, and how should you avoid its appearance ? Is the same defect apparent in collodion plates developed by the same developer ? 5. A camera has a rising front and a vertical swing back; how should you use both when focussing a near architectural subject ? 6. Under what circumstances is fuming sensitized paper with ammonia advisable, and for what reasons ? Give the chemical reactions as far as you know them. 7. Describe in detail the manipulations of the carbon process, from the placing of the tissue on the negative to the finished print. 8. How should you test a solution of ferrous oxalate in potassium oxalate for acidity or alkalinity { How should you correct it if alkaline ? 9. After silver prints have been washing some hours, it is desired to test the water for sodium hyposulphite : describe the method you would adopt. 10. How many grains of silver nitrate will it require to form the maximum quantity of silver bromide, by precipitating 25 gaains of zinc bromide. Supposing Ag = 108 Br = 80 Zn = 65 - 2 N = 14 0 = 16 11. What is the action of nitric acid on metallic silver, bromide of silver, carbonate of silver, chloride of silver, oxalate of silver, and give the chemical reactions as far as you can. Honours Grade. 1. Give the theery of vignetting, when it is done by means of an aperture in a card. 1. State the theoretical imperfections of a pinhole when using it instead of a lens in the camera for producing a picture. State the practical advantages and disadvantages. 3. In ordinary alkaline development we have pyrogallic acid, an alkaline bromide, and an alkali used. State the function which each plays in development, and give your reasons for and against the use of sulphite of soda with them, describing, as far as you know, the theory of its use. 4. What ink should you use in making a transfer by photo graphy for stone, and give the reasons for your preference I Describe a method of photo-lithography, as far as the preparation of a transfer is concerned, and state the reason of each opera tion. 5. In preparing transparencies for the lantern, what method should you use when the original negatives are larger than +-plate size. Describe a toning bath for the positives, if you employ a process in which toning can be used. 6. Describe in general terms the construction of an ordinary portrait lens, and give the reasons which have governed its form and size.
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