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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
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
- Strukturtyp
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- Parlamentsperiode
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- Wahlperiode
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- Bandzählung
- No. 1302, August 17, 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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Avgust 17, 1883. | THE PHOTOGRAPHIC NEWS. 515 emulsion press is shown in various forms, the body being made of hard wood, and the perforated die-plate of horn ; huer s plate washing arrangement is also shown in a cheap and poi table form, as well as the more expensive and complete apparatus. T he double closing tin plate boxes are extremely well designed, and calculated to be of value to the traveller. There are also red lanterns both for home work and for the tourist, and numerous minor aids to work. Mackenstein’s light double slides with cardboard shutter are worth notice. Hunter and Sands, of London, exhibit a quantity of very fine cabinet work, their changing box, in which two plates are held together by a frame and transferred into a double dark slide, being a good illustration of the careful designing and sound execution which charactise their work. The locking apparatus which prevents the opening of the slips until box and slide are united is both simple and effective. Some recent improvements render their guncamera, which has already been described in the Photographic News, a more compact and convenient instrument than formerly, and we are told that Capt. Leigh Smith has made use of it with good effect on board the yacht Eira. Messrs. Watson exhibit Addenbrooke’s and several other clever shutters. Mr. Hare, of London, and Rentier, of Brussels, show a selection of their photographic cabinet work. The carved oak studio accessories made by Janssen, o f Cologne, are excellent, almost works of art. A neat finder camera is contributed by Hofmann, of Brussels, and we were especially struck by the compactness of the tourist’s camera of De Ozonnier. The plates are shifted by a kind of bag arrangement at the top of the camera, but the whole can be quickly closed so as to form an almost cubical box, without any projections likely to be injured in travelling. Shew’s accordion-like changing box was examined with interest by many of those present. Photographic literature is fairly well represented, and we noticed the extensive series of photographic works pub lished by Gauthier-Villars, of Paris, a complete set of the Photographic News, a series of works on Military Photo Cartography by Volkmer, several of Eder’s works, the Year-Book, Pritchard’s “Studios,” “Men of Mark,” “ Persepolis,” by Stolze and Andreas, Liebert’s “ Photo- graphie en Amerique,” series of numbers of the Bulletin of the Belgian Society, and several other books or collections which are on view. PERMANENT SILVER PRINTING. How to produce permanent silver prints is as important a question to-day, as ever it has been for the past thirty years. Whatever may be said in favour of pigment print ing, collotype, Woodburytype, photo-gravure, &c., it is patent to all that with one single exception—the Platino- type process—there is no process within reach of the photographer of small means, and of the amateur, that will produce prints of a permanent character, unless it be the collodio-chloride method. Collodio-chloride printing has, indeed, never been justly treated. It is a process which produces results equal, if not superior, to those furnished by albumenized paper, in respect to softness, vigour, and beauty; while we have the testimony of many authorities of standing—Bruce, Faulkner, Obernetter, &c. —that the charming pictures are also permanent. In these circumstances we make no apology for bringing before our readers the practical experience of a collodio- chloride printer of nearly fifteen years' standing. A mag nificent series of cabinet portraits sent to us last month by Mr. George Bruce, of Duns, brought to us again very forcibly all the charms of this process, and since the lament never ceases to be expressed, “ What a grand thing it would be to get permanent silver prints! ” we immediately wrote to Mr. Bruce asking him to put the case once more before our readers. Mr. Bruce, we may mention, living in the border town of Duns, up in the north, has no inte rest whatever in the process itself, beyond the fact that it has served him all these years in good stead; and on behalf of ourselves and our readers, we thank him for placing his experiences at the services of this journal. Surely, to be able to put a beautiful silver print before the public, having all that delicacy, half-tone, and charm which both public and photographer understand so well, and to be in a position to say it is permanent, is worth some amount of care and trouble; and these Mr. Bruce holds to be amply compensated by the results he obtains. We have no doubt that Mr. Bruce would consent to forward any of our correspondents a carte or cabinet at a nominal price, should these wish to see the character and finish of the portrait with which that gentleman supplies the public; but to many Mr. Bruce’s work is so familiar at the annual exhibitions, that further testimony on the subject is need less. Without further preface, we here print Mr. Bruce’s communication. He says :— I would not have thought of writing a paper on the collodio-chloride process, had it not been that the esteemed Editor of the Photographic News suggested that some practical information on the subject might be of interest to his present readers. 1 feel, however, as if I required to make an apology to the readers for what must appear to them an egotistically written paper. But my position in relation to the late Mr. Wharton Simpson’s process is such that, in writing about it, my own personality must be more conspicuous than is at all desirable. So far as I know, I stand alone in this country in having adopted this method of printing, and if, in this paper, the capital 1 is often used, I trust the readers will not forget that what appears to savour of egotism is, in my case, really a matter of necessity. More than four teen years ago I finally abandoned the use of albumenized paper, and began to print all my work on collodio-chloride of silver paper ; and while by doing so 1 may have added to the depth and breadth of that “ sea of troubles ” which everybody has to wade through before they get to the end of life, yet, in looking backwards through those years, I cannot see any reason to regret making the change ; per haps, as some of my photographic friends have ventured to hint, I may have made the collodio-chloride process a “ hobby,” and shut my eyes to the practical side of affairs, and that, after all, “ the game is not worth the candle.” Well, all I have to say is, that if a man can make an honest livelihood for fourteen years, and at the same time give satisfaction to those who accord him their patronage, by riding a “ hobby,” then by all means let him do so. When I first began collodio-chloride printing I used paper made by Herr Obernetter, of Munich ; but at present lam printing on paper made by Herr Linde, of Lubeck. Both these gentlemen’s papers have given me equally good re sults. The collodio-chloride paper comes from Germany, carefully packed in zinc tubes, the tubes, again, being packed in wood boxes. Some years ago I met with considerable loss by reason of the Custom House officers opening the tubes, to see that there was no contraband material within. Those gentle men, after having ascertained that there were no rolls of tobacco inside the rolls of paper, very carefully closed the tubes, and passed them on to my London agent, never dreaming for a moment that in exposing their contents to the light, a loss of many pounds accrued to me. I wrote to Sir Frederick Freemantle, and explained the matter, enclosing at the same time a piece of the sensitive paper, and ever since the boxes have reached me without being opened. If, therefore, any photographer wishes to try the collodio-chloride printing, and orders paper from either of the munufacturers referred to, he may be sure of getting it free from damage. A quire of collodio-chloride paper costs me, including carriage and packing, something like £2 10s. ; but as there are now and again streaky sheets in the parcels, that will not produce good prints, the above sum scarcely covers the price I really pay. The size of the sheets is 22 by 17 inches, which gives thirty C.D.V, pieces, or ten cabinets, More might be cut
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