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The photographic news
- Bandzählung
- 27.1883
- Erscheinungsdatum
- 1883
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- Englisch
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- F 135
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- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
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- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1305, September 7, 1883
- Digitalisat
- SLUB Dresden
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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
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Band
Band 27.1883
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- Titel
- The photographic news
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September 7, 1883.] THE PHOTOGRAPHIC NEWS. 573 50 to 60 grains per ounce would invariably produce the best results. N egatives which have very dense or opaque portions and large masses of clear shadows do not produce good prints, even with the silver bath as low in strength as 30 grains to the ounce in all cases; but they will give excellent prints on washed paper—that means, after the paper has been floated a sufficient time on a weak bath, the paper is dried, washed for two or three minutes in water, and again dried. When the proportion of silver is much below thirty grains per ounce, and neutral or slightly alkaline, there is a great tendency for the albumen to leave the paper ; this is known by dull lines and patches on the paper, also a slightly opalescent scum floating on the bath ; the effect is termed stripping. The dish employed for sensitizing should not be used for any other purpose. The requirements are that it should be flat and perfectly clean. When porcelain dishes have been used a short time, the enamel or glaze cracks all over, the dish thereby becoming useless for the purpose. Ebonite dishes of large size are seldom flat when new, and warp very much after a little wear; therefore a strong wooden frame of pine or teak, with a plate-glass bed, seems to last better than anything else. The wood should be well rubbed with solid paraffin, which has the property of completely resisting the action of nitrate of silver. Such a dish, well made, will last a lifetime. A glass rod may be attached to the end of such a dish to drag the paper over, which not only allows of quicker drying, but prevents waste. (To be continued.) INSTANTANEOUS PHOTOGRAPHY. A PICTURE POB WHICH a HUSBAND PAID A HIGH PRICE. Last week an itinerant photographer of this city brought up in a small town in New Jersey, and at once proceeded to business. At the first residence he asked the lady of the house if he could take a view of her house. “ Don’t want any views. You couldn’t take a view with that old machine, anyhow. Suppose I was out in the front yard, nobody would know me in the pic ture.” The man of the camera explained how perfect his machine was for instantaneous views, but the woman refused to listen to him. He then went to the next house, and there got an order for a view. When he began to arrange his instrument, the woman No. 1 came over, her curiosity getting the better of her and the lady whose house was to be taken invited her to stand in the front yard to help her form a group. Woman No. 1 was so afraid her new silk dress wouldn’t show to good advan tage, that she seated herself on the step of a ladder that stood alongside the fence. Just before everything was ready, she con cluded that the flounces would show better if she stood up, and accordingly rose up. Then the photographer lifted the cloth from the muzzle of the camera, and turned his back from the scene just as the woman fell from the top of the ladder to the fence and caught her foot between the pickets. She hung there all through the exposure of the plate, and the photographer, un heeding her cries for help, proceeded to develop the negative. He found a splendid picture of a fence. The woman by this time had got loose from the fence, and asked to have a look at the piste, when she almost fainted away. That night her husband called on the photographer and paid him $50 cash for the picture. Yet why a man would want a picture of his wife hanging from a fence is more than anybody could tell.—St. Zouis Photographer. NOTE ON ALBUMENIZED PAPER. BY M. SCHLIER.* You remember, in old time’, when albumen paper was not in America, we were compelled to make our own albumen paper, and my experience comes from there ; and if those albumenizers would treat the paper the way I did, we would not have a single blister to complain of. It is simply this. In the first place, we wantpure material—the albumen does notwantto be adulterated; and the next mistake with our albumenizers is that they want to bring to the market a highly-glossed paper, and they run it through the burnisher or rollers, and deceive you by that method, simply showing a paper very highly glossed or glazed, and arti ficially put there, and when you have put the paper through the solutions you have a destroyed surface. * Milwauhet Cvneention, Now I may point out that the one and main object in making albumenized paper is to make it quickly, and the principal part is that it be dried as quickly as possible, and for that reason artificial heat is to be used. I got at it accident ally. I often made albumen paper so that it would last me a long time, and I remember once in the winter time I got short, and I albumenized some paper, and, to dry it quickly, I dried it immediately around the stove. The paper was so quickly dried that the albumen remained on the surface, and I never had a finer glossed or finer paper in my life than that, and from that time until I went to buy my paper, I used it in that way. I can’t exactly give you the technical points about it, but that is my experience, and I have tested it and made albumen paper afterwards where I tried it in the usual form, and hung it up in a room to dry in half-a-day, together with paper dried instantly ; mine was far Superior, and never showed a blister ; it had a finer surface and a finer polish, and the pictures are much better and don’t take so much silver, because the albumen has not soaked into the paper, but stayed on the surface. Now it is a mistake, and I should ten times rather receive the paper without the pressing, and without the burnishing and gloss. We heard a little while ago about those vexatious black spots ; to a great extent they come from that source. I believe the sheets are run through steel rollers and burnishers, and that is where those black spots come from ; that is the common cause, and I would rather have my paper a little rough than have it burnished and not run through burnishers and rollers; and I wish the albumen izers would copy that, and try to help us out of that trouble. ^nttts^oulitnu. A REDUCER FOR DENSE FILMS. Sir,—Being rather troubled with over-dense negatives, and having tried the common ozone bleach reducer with very indifferent success, it struck me a few weeks ago to try tincture of iodine and a solution of cyanide of potassium as a reducer. I had previously' seen iodine and cyanide used for another purpose, which I shall not mention just now. I first took a negative (unvarnished) which I did not require, and soaked it thoroughly in cold water. I then took tincture of iodine f-oz., water 14-ozs. ; then put the soaked negative in the developing tray, and applied the solution of iodine; allowed it to remain on for three or four minutes ; poured the iodine back into its own glass, and applied a weak solution of cyanide of potassium. In a minute or two the image had almost disappeared. I then put it in hypo bath, and washed as usual. The stronger the cyanide the quicker the action. Should the first attempt not reduce the negative enough, the iodine may be re applied, but every trace of cyanide must be washed away from negative and tray, else the iodine will be eaten up, and so make the reducer rather an expensive one. With me the above has worked well. As I have not seen the above in print, nor heard of it before, I hope you will find space for this letter, and so give photographers a chance of trying it. I hope it may prove useful to amateurs like myself. I would be glad to hear how it acts in the Lands of others.—lam, yours truly, Thrushville, Stirling, N.B. Thomas Thorburn. PHOTOGRAPHY AND TRICYCLING. Sir,— I have but recently taken in the Photographic News, and it was with a hope, I must confess, that some of your able articles would treat of camera work combined with tricycling. I am looking forward next month to a little tour with my camera, and as so many of my friends make tempting remarks about the tricycle, I thought that the two might be combined. Now although I know very little of photography, I know still less of the tricycle, and so I would ask if you could give me advice on the subject. My camera and other travelling impedimenta I estimate at 25 or 30 lbs. Now can I get a light tricycle to carry this and myself without fatigue to the rider, who is not a
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