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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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Zeitschrift
The photographic news
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Band
Band 27.1883
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- Titelblatt Titelblatt I
- Register Index III
- Ausgabe No. 1270, January 5, 1883 1
- Ausgabe No. 1271, January 12, 1883 17
- Ausgabe No. 1272, January 19, 1883 33
- Ausgabe No. 1273, January 26, 1883 49
- Ausgabe No. 1274, February 2, 1883 65
- Ausgabe No. 1275, February 9, 1883 81
- Ausgabe No. 1276, February 16, 1883 97
- Ausgabe No. 1277, February 23, 1883 113
- Ausgabe No. 1278, March 2, 1883 129
- Ausgabe No. 1279, March 9, 1883 145
- Ausgabe No. 1280, March 16, 1883 161
- Ausgabe No. 1281, March 22, 1883 177
- Ausgabe No. 1282, March 30, 1883 193
- Ausgabe No. 1283, April 6, 1883 209
- Ausgabe No. 1284, April 13, 1883 225
- Ausgabe No. 1285, April 20, 1883 241
- Ausgabe No. 1286, April 27, 1883 257
- Ausgabe No. 1287, May 4, 1883 273
- Ausgabe No. 1288, May 11, 1883 289
- Ausgabe No. 1289, May 18, 1883 305
- Ausgabe No. 1290, May 25, 1883 321
- Ausgabe No. 1291, June 1, 1883 337
- Ausgabe No. 1292, June 8, 1883 353
- Ausgabe No. 1293, June 15, 1883 369
- Ausgabe No. 1294, June 22, 1883 385
- Ausgabe No. 1295, June 29, 1883 401
- Ausgabe No. 1296, July 6, 1883 417
- Ausgabe No. 1297, July 13, 1883 433
- Ausgabe No. 1298, July 20, 1883 449
- Ausgabe No. 1299, July 27, 1883 465
- Ausgabe No. 1300, August 3, 1883 481
- Ausgabe No. 1301, August 10, 1883 497
- Ausgabe No. 1302, August 17, 1883 513
- Ausgabe No. 1303, August 24, 1883 529
- Ausgabe No. 1304, August 31, 1883 545
- Ausgabe No. 1305, September 7, 1883 561
- Ausgabe No. 1306, September 14, 1883 577
- Ausgabe No. 1307, September 21, 1883 593
- Ausgabe No. 1308, September 28, 1883 609
- Ausgabe No. 1309, October 5, 1883 625
- Ausgabe No. 1310, October 12, 1883 641
- Ausgabe No. 1311, October 19, 1883 657
- Ausgabe No. 1312, October 26, 1883 673
- Ausgabe No. 1313, November 2, 1883 689
- Ausgabe No. 1314, November 9, 1883 705
- Ausgabe No. 1315, November 16, 1883 721
- Ausgabe No. 1316, November 23, 1883 737
- Ausgabe No. 1317, November 30, 1883 753
- Ausgabe No. 1318, December 7, 1883 769
- Ausgabe No. 1319, December 14, 1883 785
- Ausgabe No. 1320, December 21, 1883 801
- Ausgabe No. 1321, December 28, 1883 817
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appeared as if it was meant to crush it, and in this posture he was told to look happy, and to think of something agreeable, whilst the operator watched him with his hand on the cap over the lens waiting for the happy expression to come into his face. It was hardly surprising that the usual consequence of a sitting of this description was a likeness the predominant characteristic of which was that of acute mental suffering and considerable physical anguish. The wonderful progress which has been made in photography of late years has made the old protracted sitting no longer necessary ; and no artist now-a-days objects to your winking. But, to judge from the cartes-de-visite which fill the albums of one's friends, it does not seem that the public as sitters have at all kept abreast of the photographers as artists. You are constantly coming across the most extraordinary poses, the most astonishing expressions of countenance, the most melancholy groupings. It is not the fault of the photo graphers ; the sitters will have it so, and object to artistic arrangements. A fond couple, for instance, imagine that a most picturesque and pleasing effect may be produced by Matilda sitting on a chair looking up at Henry, who leans poetically over her. In real life nothing could be more idyllic than such an attitude; but in real life a particular subjection of light will not make Matilda look like a West Indian negress, nor will Henry’s bowed head lead one to suppose that it is possible for a man’s face to consist entirely of the parting of his hair. One young lady, in the resolution to look uncommonly pleasing, comes out as though she had been j ust about to sneeze when her likeness was taken. An elderly lady of large proportions, quite ignorant of the law of photographic perspective, insists upon sitting “ so,” and is represented like an elephant in a gown. People with turn-up noses, with very long noses, with no noses to speak of, delight in sitting en profile. On the other hand, people decorated with four or five chins, and a corresponding amplitude of cheek, love to present their full faces. A short man insists upon being taken standing. A tall man will cross his legs, desiring to appear in an easy attitude, and by projecting his boot into the sphere of the lens is depicted as the possessor of a foot that should make his fortune in a travelling booth. There can be no doubt that actors and actresses make the best photgraphs. The habit of assumption sits lightly on them, and they have the art of smiling and posing so as to make the smile look genuine and the pose natural. Moreover, and this refers exclusively to actresses, they know how to dress. Dress is not everything in a photograph, but it is a very great deal.—Tit-Eits. o PHOTO-LITHOGRAPHY AND PHOTO ZINCOGRAPHY. BY MAJOR J. WATERHOUSE, B.S.C., Assistant Surveyor-General of India. Chapter XII.—Direct CoLLo-CHROMATE Methods.* One of the most useful applications of the direct collo- chromate methodsis the reproduction of maps in cases where more accuracy in scale is required than can be obtained by the transfer methods; though the use of the process is practically limited to maps that can be taken on a single negative. With this object, an excellent process of the kind used to be, and possibly is now, worked on the large scale in the Topographical Depot of the Belgian War Department for the reproduction of the beautiful chromo lithographed map of Belgium on the scale of 1 to 20,000. The process is fully described by Capt. Hannot, the officer in charge of the photographic branch of the Depot, in Maes and Hannot’s “ Traite de Topographie et de Reproduction des Cartes au Moyen de la Photographie,” from which the following account is taken. The sensitive solution is composed of— Bichromate of potash ... ... 5 parts Gelatine 6 ,, Water ... ... 100 ,, The gelatine should be of the first quality, and the bichro mate pure. The bichromate is dissolved in half the water, and the gelatine in the other half. The solutions are mixed in the dark, and filtered through muslin. ♦ Continued from page 542. The above solution is applied with a fine sponge in a very thin and uniform coating on a lithographic stone ; prefer ably, a yellow or light-coloured one lather than a grey one, the latter not being so porous. The stone should have a very plane surface, and be recently grained, and dried. If necessary, a broad brush may be used to smooth the coating. The coating will be dry in ten minutes, and ready for expo sure under the negative, which must be a reversed one. The whole beauty and value of the result depends on perfect contact b tween the negative and the stone, and this is rather difficult to obtain. In the first place, the glass on which the negative is taken must be very level as well as the stone. The negative is laid, film side downwards, on the sensitive coating of the stone. Small pieces of paper are pasted on the back of the negative in blank places, so as to give extra pressure in the centre or any other important parts. Two or three sheets of thick glass are then laid over the negative, and the whole clamped down with four wooden screw clamps, the screws of which work on wooden bars placed along the sides of the glass, to render the pressure more even, and prevent the glass from being broken. As it is always difficult to make sure of securing perfect contact, it is desirable to use only parallel rays when expos ing to light, so that the want of sharpness arising from any slight want of contact may be minimised as much as possi ble. This is done by putting the stone and negative at the bottom of a long open box, blackened on the inside. The exposure to light takes about a quarter of an hour in full sunlight. Exposure in the shade, though longer, is generally considered preferable, and may be prolonged with out inconvenience, if the dark parts of the negative are sufficiently opaque. It is better to over-expose than not to expose enough, as it is essential to success that the action of light should completely penetrate the sensitive coating. Sometimes, in order to increase the contrast between the lines and the ground, a thin sheet of white paper is laid over the negative when exposed to sunshine. The action of the light is then more equal all over the image, and the final result is better. (This might be useful in printing transfers from weak negatives.) After sufficient exposure, the negative is removed from the stone in a dark room ; the design can then be seen faintly marked in brown on the yellow ground presented by the unaltered gelatine. The stone is then covered all over by means of a roller with a mixture of equal parts lithographic printing ink and transfer ink. The coating of ink is veiy thin, the object of it being chiefly as a guide in the after operation ofclean ing. Before commencing the cleaning, a small quantity of starch is made into a thin paste with boiling water. A small quantity of this is poured on the stone, and rubbed gently over it with a small sponge. The parts of the coat ing that have remained soluble are gradually removed, and the design appears. The cleaning is continued till nothing remains on the stone but the design. The stone is then washed, gummed, and left for a few hours. It frequently happens that in parts where the lines are very close together, the drawing is not perfectly fiee from soluble gelatine, and clogs up. This dirtiness may be cleaned off by rubbing with a piece of flannel moistened with water and a little turpentine, so as to remove the ink. Ink is then applied again with a fine sponge. If that is still not enough, the dirty parts are lightly rubbed with a flannel soaked in a little weak acid ; or, better, beer, which acts less forcibly than acid. By this treatment all traces of soluble gelatine should be removed from the stone. The design on the stone, being formed only of insoluble gelatine, is very delicate, and requires a good deal of care in printing, to prevent the finer lines from being removed. It is advisable to place the stones for an hour or two in a heat ing box warmed to 120° F. Should the lines not hold the ink well, an exposure to the
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