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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. 1301, August 10, 1883
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Zeitschrift
The photographic news
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- Titelblatt Titelblatt I
- Register Index III
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August 10, 1883.] THE PHOTOGRAPHIC NEWS 505 “ But do you think it is cheaper to work wet collodion than gelatine plates in a studio?” we asked a photo grapher recently. “ Perhaps not,” was his reply ; “ but I think it very likely that you would get an assistant who understood collodion for less pay than one thoroughly understanding the gelatine process.” Growing a beard, however much it may protect the occasional evildoer from detection by the police, does not avail the habitual criminal. In fact, it is likely to aid in his discovery. Our prison authorities not only secure pictures of inmates in their shaven and shorn condition, but also a few days previous to their release, men “going out ” being permitted to grow their beards three months beforehand. So that the prison albums invariably contain the pictures of habitual criminals in a half-fledged con dition as regards whiskers and moustache, as well as with smooth features. Intending emigrants have now something much more tangible to believe in than had Martin Chuzzlewit when he was deluded by the representations of the City of Eden, which was depicted in such glowing colours. Anyone can draw the plan of a city containing details which may be purely imaginary; but photography is a different matter altogether. For this reason, the Canadian authorities, who are interested in promoting emigration to Manitoba and the North Western portions of the Dominion, have had a number of photographs of the scenery, farms, &c., taken, SO that British farmers may be made acquainted with the features of this vast Colony. These photographs will be exhibited at the forthcoming show of the Royal Agricul tural Society at York. A correspondent writes:—“1 have heard that diamonds, and other precious stones, too, are often appraised by the light with which they shine ; would not photography offer an easy method of determining the comparative value of gems in this respect ? ” Here is a chance of investigation by any of our readers who happen to be the fortunate possessors of a collection of precious stones ! A glance at the list of patents taken out in connection with photography during the last quarter of a century might point an instructive moral to those restless trained photographers who no sooner conceive a novelty than they rush into the expensive luxury of a patent. In turning over some old records of photographic patents applied for and taken out some five-and-twenty years ago, we found that in 1856 twenty-one patents for improvements in photographic apparatus were applied for; in 1857 the number was twenty-three ; in 1858 fourteen, and in 1862 there were no less than twenty-eight. These were ex clusive of thirty-four patents relating to stereoscopes alone. Of all these patents, scarcely one was of any commercial value at the time, and are certainly worthless now. Dr. Hill Norris’s albumen plates no doubt became established market commodities, but we fancy that gelatine has now almost superseded them. It is a notable fact that three of the most important photographic processes were given freely and generously to the world by the inventors—Mr. Fox Talbot’s calotype process, Mr. Scott Archer’s collodion process, and Mr. Bennett’s rapid gelatine process. It is true that Mr. Fox Talbot applied for a patent, but shortly afterwards abandoned the idea. We have only mentioned the number of applications made in four years, and if to these be added the patents applied for at other times, the total will swell up to something astounding. “ It ain’t no use to ask you to have yours done,” said a brother of the camera as we were sunning ourselves outside the “ Forest Hotel ” at Chingford; “ and I fancy your turn out is a chalk or two over mine.” He then very carefully took a rapid rectilinear from an inside pocket and said: “I use this for my best work ; landscapes and so forth.— Stops worn bright! why don’t I blacken them ? Lord bless you! there is no need for blacking them with a lens like this." He turned his back and was off in an instant, his companion having booked an order. A plate was already in the bath, and in five minutes and ten seconds from the time he left us he had delivered the portrait and taken the money. He resumed:—“ What do I do in the winter? lam a muffin maker, but I prefer the photo line.—No, I shall not travel for views of houses and groups on the lawn just yet; I always wait till the people have returned from the seaside. Their faces are so red that they wonder that they come out dark. Show you my turn out ? Proud to do it. These are some of my best views. Glad you think they are good, blow let me take your portrait; of course I shan’t charge you anything. A little more to the left, or there will be too much light overhead. There! you shall have one of my best frames.” We need hardly say the man had his fee. o Patent Jntelligence. Application for Letters Patent. 3800. Alberta Mary Frances Caspar, of 200 and 223, Regent Street, in the county of Middlesex, Artist, for an invention of “ A new process for preparing and painting photographs, prints, or drawings so as to resemble oil paintings on canvas, to be called ‘ Caspar’s kartahne.’ ’’—Dated 3rd August, 1883. Specification Published during the Week. 5,933. R. E. Frank, " Ornamentation of glass, &c.”—A commu nication from L. Micciullo, known as D. Scotellari. This invention relates to improvements in copying and multi plying works of art and others on glass, china, tiles, or other vitreous objects or metals to be ornamented. With a sensitive varnish of adhesive properties the object or surface to be ornamented is covered, and the transparent pattern, picture, design, or object to be reproduced, is placed against the varnished surface, where the light will make an impression upon the varnish, hardening the lighter parts and leaving the dark parts soft; after a few minutes, it is removed, and oxides or colours are applied in the ordinary way, say, as follows :—The finely- pulverized colours or enamels are taken up (in a dry state) by a brush, applied to the parts where they are required, which can be clearly distinguished in the layer of varnish on the article to be ornamented. The colours, enamels, or metallic oxides, adhere more or less according to the degree to which the adhesiveness of the varnish has been effected, that is to say, according to lights and shades in the picture, design, &c., to be reproduced, or according to whether the varnish has hardened more or less. The varnish may be composed of yellow gelatine, gum- tragacanth, and quince-seeds mixed with rain water, and chrome
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