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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. 1296, July 6, 1883
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The photographic news
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- Titelblatt Titelblatt I
- Register Index III
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July 6, 1883. | THE PHOTOGRAPHIC NEWS. 429 It is usual to transfer damp transfers to a dry stone ; but, according to Richmond, there are many and great advantages in laying down the transfer dry or on a wet stone. It is easier to damp the stone than the paper; it is quicker. Patched transfers can be put down without creasing them, and all can be transferred without increased dimensions. To succeed with this method, however, it is necessary that the transfer paper shall be readily made adhesive with cold water, and therefore it is only suitable for rolled up transfers, or others in which the coating of gelatine is left in a sufficiently adhesive condition. The amount of mois ture on the stone should be just sufficient to make the colloid matter on the transfer adhere to the stone, and, as a rule, the stone may be wetted to about the same degree as for printing. Everything being prepared as in the ordinary process, the transfer print is laid on the damp stone, and as quickly as possible passed through the press about three times. The paper should then have absorbed all the mois ture from the stone, and the latter, being dry, is free to take up the ink. As soon as the stone is found, by lifting up a corner of the paper, to be quite dry, the back of the transfer may bo damped, and the transferring finished in the same way as before. The transfer being complete, the next thing to be done is to prove it. Proving. Under this term are included all the operations of cleaning, etching, rolling-in, and taking what are called “ proofs ” or first impressions for examination and approval before “press order” is given for the final printing off. The procedure is similar for stone or zinc, the chief difference being in the etching. We shall, however, consider both separately. Preparation of Stone after Transfer.—The treatment of the stone after transfer is as follows :— It is first brushed over with fresh gum-water, made as described in the last chapter, and allowed to dry. The stone being quite cool, the gum is washed off with clean water, and the excess of moisture being removed with the damping cloth, so as just to leave the surface of the stone uniformly damp, the work is rolled in carefully with ink of medium strength, as will be described under the head of “Printing.’’ After rolling in, spots and dirty places will make their appearance, and must be removed. The edges and white parts of the stone are cleaned with a sponge, followed by rubbing with a piece of pumice or snake stone. A pointed slate pencil or slip of snake stone is used to clear off dirt between the lines or on small open spaces. Spots that cannot be removed with the snake stone or slate pencil may be taken out by rubbing them with a sharp pointed piece of hard wood dipped into a mixture of gum, acidified with nitric acid, till it will briskly effervesce when applied to a blank part of the stone. Care must be taken that the acid does not spread and injure the lines, and it must be quickly washed off with sponge and water. A sharp steel eraser or scraper may be used for finishing off and cleaning between very close work, also for thinning down lines that are too thick. When the work appears quite clean, the stone must be well rolled up again, and etched by being washed over evenly and quickly with a soft sponge or brush dipped in a mixture of gum and acid, containing forty to sixty parts of gum-water about the consistence of linseed oil, to one part of nitric or muriatic acid, and just strong enough to effervesce slightly when applied to the stone. The etching is washed off, the stone gummed in again, and allowed to dry, and it is better to leave it for some hours, or even a day or two, before printing. When the work is very fine, or the transfer prints rather old, so that the transfer seems weak, and it is doubtful whether it will roll up well, it may be strengthened by washing the stone over with a sponge dipped in fresh gum water and held in the left hand, while with the right hand a pad dipped in a mixture of turpentine, thin printing ink, and stone re-transfer ink, or a mixture of printing ink with a very little olive oil, is rubbed over the lines of the drawing, the pa l being re-charged with ink, and the sponge with gum, as required. By this treatment, every line of the drawing should appear perfectly black, and if plenty of gum is kept on the stone, there is little fear of injury. When the work is properly charged with ink, the dirty mixture of gum and ink is washed off with clean water. The stone is then gummed in again with fresh gum, and set aside for the ink to penetrate. (To be continued.) Gorxespondente. COLLODION EMULSION. Sir,—Mr. Banks has recently stated that the rapidity in collodio-emulsion can be secured, combined with keeping it, if unwashed. He gave no hint of the formula used. If the quantity of pyroxyline and the nitrates used were given, it would stimulate experimentalists among amateurs, and might lead to something that would secure the use of such emulsion, as it has the advantage of allowing a few plates being coated as required. Information as to substratum necessary would be useful, as the writer finds French chalk does not prevent film leaving the glass. Amateur PORTRAITS A PENNY A-PIECE. Dear Sir,—You say in your “ Notes " last week, that if people can buy pirated portraits for a penny, they are not likely to give a shilling for the copyright pictures at shops. Allow me to say that you do not put the matter strongly enough. I have not only bought several of the pirated portraits, but I have carefully examined them, and although not equal to the originals, still they have a quality that these lack. The penny portraits 1 have found to be, in nine cases out of ten, collotype prints, and therefore per fectly permanent. I would therefore say, is it likely that the public will continue to buy photographs at a shilling each that will fade, when they can purchase permanent pictures for one penny? I have been told that Messrs. W. and D. Downey and others know when a shipment of these prints arrive ; they know where they are manufactured, and who are the manufacturers. Generally speaking, they come from Germany, it is said, and the fact of their being collotypes favours this idea. Why cannot we stop the supply of them ? It is certain, obv iously, that if the pirate takes the trouble to print the portraits mechanically, he has a large sale in view. Under these circumstances, I should have thought photographers would long ago have banded together to protect their property.—Faithfully yours, A. E. Sir,—I have the honour to send you also two pictures I bought on a barrow in the Borough ; they cost one penny each, but I do not think they are good ones.—Yours, A Photographer. [Our correspondent sends us a portrait of Mrs. Langtry and of Lord Wolseley. They are both of them collotypes. —Eu. P.N.], Proceebings Of Socicties. London and Provincial Photographic Association. At the ordinary meeting of the above Association held on the 28th ult., Mr. A. Cowan in the chair, Mr. Henderson read a letter from Mr. T. H. Blake, an American gentleman who visited this country a few months ago. Mr. Blake said, with respect to removing of the yellow stain left on negatives by pyrogallol, he found that it was perfectly
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