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The photographic news
- Bandzählung
- 27.1883
- Erscheinungsdatum
- 1883
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- Englisch
- Signatur
- F 135
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Public Domain Mark 1.0
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- http://digital.slub-dresden.de/id1780948042-18830000
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- Parlamentsperiode
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- Bandzählung
- No. 1313, November 2, 1883
- Digitalisat
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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
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694 THE PHOTOGRAPHIC NEWS. LNovEMBER 2, 188 out of the high ridge which runs eastwards from Mont Blanc, and forms part of the frontier between France and Italy, and is a conspicuous object from the Mer de Glace and the glaciers and peaks on the north side, as well as from Courmayeur and the valleys on the south or Italian side. A few years ago several of the rocky peaks near Mont Blanc remained unclimbed, but they succumbed one by one to the repeated attacks of mountaineers, until they had all been decorated with flagstaffs, except the apparently unassailable Dent du Geant. The mightiest of guides and the most determined of British climbers bad tried it in vain, and had declared that it never would be climbed by legitimate means. Last year, however, it was almost vanquished by an Italian gentleman, Signor Sella (a brother, we believe, of the celebrated photographer of Biella, Signor Vittorio Sella, whose magnificent Alpine views, some of them as large as 15 by 12, are attracting much attention). Signor Sella, however, like his predecessors, found it impossible to get up the mountain without artificial help, and it was only after his guides had spent much time in the preliminary work of driving in iron pegs in one or two of the worst places, and affixing ropes in others, that the party succeeded in reaching—no, not the top ! They only reached the lower peak, which is divided from the highest peak by a gap about fifteen yards wide. The top itself is only some twenty feet higher than the lower peak, and perhaps barely thirty yards away ; but they did not complete the ascent, and the mountain remained, technically speaking, unclimbed. Shortly afterwards Mr. Graham, an energetic young Englishman, and his two guides, making partial use of Signor Sella’s ropes and pegs, climbed the lower peak, and then, without serious difficulty, crossed the gap and reached the real summit, and transferred to it the flagstaff left on the lower peak by Signor Sella. Since then it has been climbed several times, once even by a lady, for whose assistance several extra lengths of rope were fixed by her guides, and were left on the peak. The view is taken from the top of Mont Mallet, a rocky peak nearly as high as the Dent du Geant itself, and about 900 yards away to the north-east. The Dent du Geant is 13,150 feet above the sea, and the height of the vertical precipice on the left from the top down to the snow ridge, is about 330 feet, the whole height above the lowest point represented in the foreground of the picture being about 1,500 feet. The way up lies entirely behind the peak as seen from Mont Mallet, on the side towards Mont Blanc, and as the two summits of the peak are nearly in the line of sight, the gap between them is not seen in the photograph 8 dictionarg of Photograpky. ALBUMENIZED PAPER (Printing on).—Continued. Views with figures, and portraits with fancy backgrounds, such as exterior or interior, conservatory, &c., are sometimes con siderably improved by vignetting, and some charming results can be obtained by blending gradually from the figure to the edges of the plate. To do this nicely the vignette shape is made as usual to print the figure or figures as the case may be. When printed sufficiently the mask is removed, and the whole exposed to a good light for a minute or two; the time to stop the action may be known by all the deep shadows showing on the print. If we desire to put a plain background into a print from a negative (say) with a landscape in the distance, and figures in the foreground, we cut out the background close to the figures ; this we carefully adjust on the varnished side of the negative, touching the edges with a trace of gum; the inner portion, which should be an exact counterpart, is gummed to a sheet of glass, as in toned-in vignettes. If we take a print from the negative now, the background will be white ; to obtain a neutral tint, we have only to place the cut-cut figure portion over the figures, to shield them from the further action of the light, when we are enabled to print in a background of any depth we choose. By substituting negatives for plain glass, it will be found quite easy to block out the original background, and print in another; besides backgrounds, we advise an attempt on foregrounds, figures, accessories, and skies, for these may be successfully accomplished after a little practice and a few failures Toninr/ is the operation which ultimately determines the colour of the finished print. Briefly described, the print is com* posed, as stated, of silver subchloride (Ag,CI), together with free silver nitrate in the paper. The greater portion of the latter salt can be easily removed by soaking in water, leaving the image unaltered. By submitting the washed print to the action of a diluted solution of gold terchloride (AuCl 3 ), a chemical change will take place. A portion of the sub-chloride will be acted upon, re-converting it into silver chloride, and receiving a deposit of gold dependent upon the time the action is continued, and the restraining power of the compounds added; likewise the amoun of free silver nitrate left in the print. ’ Rule.—The longer the print is subjected to the toning bath, the more gold will be deposited, and the tone will be colder in consequence. According to this rule, if warm brown tones are required, the prints should remain only a short time in the toning solution; purple tones will be obtained by continuing the action a little longer, and blue tones by prolonged immersion. It will be noticed that prints become somewhat reduced in vigour while thus being acted upon, due to the bleaching action of chlorine, but not nearly to the extent produced in the after operation of fixing in sodium thiosulphate, wrongly called “ hypo,” where the silver chloride is dissolved out, leaving the image composed of metallic silver, upon which is deposited metallic gold. When the fixing salt has been eliminated by copious washing, the print may be said to be unalterable by light, although we do not wish the student to understand that silver prints are absolutely permanent, for experience leads us to regard their stability with a great deal of suspicion. Cutting.—It will be found more convenient to trim the prints to the required shape before putting them in the water. This should be done in the printing room, using only yellow light. The cutting shape is a piece of plate glass cut and ground, or polished at the edges, and exact size and shape the print is to be. Take, for instance, a cabinet mount with line round the margin, or one of the stout bevelled edge mounts, the cutting shape should measure about 6 inches by 32 ; an ordinary cabinet mount measures between the lines 6} by 4 inches ; when mounted, the print will show rth of an inch margin at the top and sides, and zth of an inch at the bottom beyond the print. Cutting shapes of all sizes may be obtained at the dealers in photographic materials. Lay the prints face upward on a piece of plate glass, place the shape on the top of it, and adjust it in position in such a manner that the centre is equally balanced; that means, if the photograph be a portrait group of, say, three persons, the centre figure should be midway between the two sides. For a head and shoulder vignette, let the chin be the centre ; for a three-quarter length portrait, the centre should be a little lower, reaching to the chest; this admits of sufficient background or space above the head to balance the rest. When adjusted, cut away the excess of paper by passing a sharp penknife round the edges; Robinson’s cutting wheel is much used for the purpose, on account of the great ease by which ovals, dome-top, and round corners may be cut, a sketch of the little instrument being here appended; scissors may be used, but a little practice is required, or the lines will not be cut true to the shape. Mr. W. Thompson, of Aberdeen, uses a steel cutter, such as is employed in cutting out envelopes ; the two principal advantages of this method being the rapidity with which a large number of prints may be cut out, and tho uniformity of size which is ensured. ■Suitable dies or cutters can be obtained to order in London and most large towns at a moderate rate—we believe, from Cd. to 9d. per linear inch of cutting edge —and, if carefully used, they will remain in good order for years. Mr. Thompson says :— I use a die, a block of lead, and a mallet; and the figure on p. 694 will give some idea of the various articles in use. For C.D.V. size I cut a whole sheet of paper into cartes with one stroke of the mallet, this being a very great saving of time and also makes very much superior work to the knife and cutting glas, moreover, the corners are nicely rounded to suit the round- cornered card mounts.
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