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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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- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1295, June 29, 1883
- Digitalisat
- SLUB Dresden
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Zeitschrift
The photographic news
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- Titelblatt Titelblatt I
- Register Index III
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- The photographic news
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JUNR 29, 1883.] HE PHOTOGRAPHIC NEWS. 407 place, he makes it a sine qua non that what has been taken at the first sitting shall be destroyed before a second one is given. This is clearly put before the dissatisfied sitters, and not unfrequently it brings them to reason. Those who approve one of the pictures, but disapprove of the other, are at once brought to bay. The good picture will bo destroyed along with the bad one, if they are retaken. But cannot the photographer wait, they ask, until the second sitting has taken place? It would be such a pity, if the good picture was destroyed, when, after all, they might prefer it, is their argument. But this is just the crucial point of the whole matter ; if the photographer gave way, he would be permitting his sitter a choice of four positions, and not two. So he replies, he is very sorry ; it doubtless would be a pity if, when the negative is destroyed, the sitter should be sorry for it; but, unfortunately, it is a stringent rule of the establishment, to which no exception can be made. The measure at once upsets the calculation of those who are fully pleased with the first result, but, in the hope of securing a better, would put the photographer to unreasonable trouble. Three out of four think the matter over, and in the end are quite content with the picture that has their approbation. Another not less strict regulation in our friend’s establish ment is, that in the event of re-sitting, the model must be dressed in precisely the same garments as at first. “ If a lady has changed her dress, then we refuse to give a re-sit,” is our invariable custom. With lady sitters, in nine cases out of ten where the result does not please, it is the dress, and nothing else, that is unsatisfactory. This may be pointed out to the sitter, but it is difficult to make her admit so much. The pattern or colour, the set or folds of a gar ment displeases, and hence the lady quietly makes up her mind to have a re-sitting, but in another costume. Such an idea is at once met by the regulation that the dress must he precisely the same if a re-sitting is given. It is not the photographer’s fault if the sitter is ill-clad, and therefore the loss should not fall upon him. Many people wait for their new clothes to come home before sitting, and make the opportunity of a fresh outfit an occasion for visiting the studio. This is a great mistake, for as often as not, they are not used to the new garments, and these set stiffly and awkwardly upon their figures. Moreover, some people scarcely know themselves in the recently-acquired clothing, and this is another cause of dissatisfaction. In any case, it is a very good rule in an establishment to make the sitter alone responsible for costume, and this is straightway done by the regulation we have quoted. In some studios it is the custom to make a definite charge for re-sitting, assuming, as a matter of course, that in the first portrait or first pair of portraits taken, every precaution has been taken by the photographer to assure a successful portrait. This is not a bad plan, especially in busy studios where the prices charged are moderate. In this case, the charge for re-sitting is usually one-third that at first demanded, so that the sitter at once perceives the photo grapher cannot make a good thing out of it. This, at any rate, is one way of setting at rest the burning question that troubles photographers. PHOTO-LITHOGRAPHY AND PHOTO ZINCOGRAPHY. DY MAJOR J. WATERHOUSE, B.S.C., Aseisfant Survet/or-General of India. Chapter X.— PRINCIPLES oe Lithography, AND Materials Required,—continued. Paper.—Care must be exercised in the selection of printing paper, because not only does a good deal of the beauty of the impression depend upon the surface and quality of the paper used, but the work on the stone itself may be injured by the use of paper unsuitable for the pur pose, or inferior iu quality. Two classes of paper are used for printing—unsized and sized. The former, called “ plate papers,” give better impressions than the latter, but the readiness with which they are torn, and their inability to take writing or colour, render them unsuitable for general purposes. They may be recognised by the peculiarly harsh feeling of dryness they give when applied to the tongue, owing to their rapid absorption of the moisture. The best papers for fine work are India paper, plate paper, or the softer and more lightly-sized kinds of litho, and ordinary printing paper. The hard, highly-sized papers, such as bank-post, ordinary writing and drawing papers, do not give good impressions. The soft papers absorb the ink and lift it off the stone, moulding them selves round it, while the hard ones refuse it, and have a tendency to give weak blurred impressions. Papers con taining a quantity of alum in the size, or showing an acid reaction with a piece of moistened litmus paper, should be avoided, because the acid will in time destroy the gummy coating. For very fine impressions, enamelled paper is sometimes used. It may be prepared by dissolving 4 ounces of Russian glue in 3 quarts of water, and grinding in 1} lbs. of zinc white. The mixture is passed through a sieve, and two coats of it are applied to the paper with a brush. When dry, the paper is glazed by passing it through the press in contact with a polished stone or zinc plate. The same paper is largely used for collotype printing, and may be purchased in the market. Printing paper is usually slightly damped, in order that it may not require so much pressure to bring it into close contact with the stone, and also to render it softer and more absorbent, so that, although damp, it lifts the ink better than dry paper. Now, however, that smooth, highly-faced papers are readily procurable, there is not the same necessity for damping paper in order to lessen pressure, and in many ways it is an advantage to dispense with the operation. Damped paper distorts and alters the dimensions of the subject more or less in drying, and if left damped too long before use, it becomes spotted and mil- dewed, especially in warm weather. For colour printing, it is indispensable to print on dry paper in order to pre serve accurate register throughout the several printings. It requires some little experience to be able to give paper just the right amount of dampness, because it varies with the degree of sizing and the thickness of the sheets. The moisture can be applied either by sponging the sheets lightly over with water — this method being specially applicable to plate or unsized paper—or by taking several sheets together and passing them through clean water contained in a trough or vat. The wetted paper is then piled up evenly on a clean board, another board is placed on the top, and weighted. The pile is then left for some hours till the moisture is evenly distributed throughout. The paper will then present a cockled appearance, which should be removed by taking the sheets one or two at a time, and piling them up again one over the other, but in the reverse position to what they were at first, and smooth ing them out with the hand. They are then put under a weight again until required. Paper is generally damped in the evening to be ready for use next morning. For proving, and getting the stone or plate into working order, an ordinary kind of thin printing paper is used, and is damped as above. It should be smooth and free from lumps of fibre, &c., which might injure the work. For military maps and other work that is likely to be subjected to much folding or rough usage, it is convenient to print on linen or calico. The best quality, known as “imperial indestructible cloth,” is manufactured by Winterbottom, of Manchester, and sold in rolls without fold. Ordinary long cloth, however, answers very well. The cloth takes the ink well, and need not be damped. Vellum or tracing cloth is not very suitable for printing, the ink taking a very long time to dry on the unabsorbent gummy coating,
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