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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
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- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Parlamentsperiode
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- Bandzählung
- No. 1318, December 7, 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
- Ausgabe Ausgabe 1
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- Ausgabe Ausgabe 817
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Band
Band 27.1883
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- Titel
- The photographic news
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772 THE PHOTOGRAPHIC NEWS. [DECEMIBER 7, 1883. attain a position of some commercial importance, more especially when it may be necessary to produce a consider able number of prints in a short time ; but very few photo graphers have yet learned to appreciate the power p'aced in their hands by the introduction of paper coated with gelatine emulsion. “ Some of our readers will remember that in 1860 (vol. iv., p. 270) we described a rapid photographic printing machine which was invented by Mr. Chas. Fontayne, of Cincinnati. A strip of paper is drawn under the negative, pressed into close contact with it, and a measured exposure is given; solar light concentrated by a condenser being used. The series of operations is repeated, so that a number of im pressions may be taken on the same strip of paper, it being merely necessary to turn a handle until the strip or roll of paper is exhausted. Although Fontayne used the most sensitive calotype paper obtainable when his machine was constructed, he did not find it possible to obtain more than 200 impressions per minute from one negative. This corresponds with a rate of 12,000 per hour, and by passing the exposed band directly into the developing, fixing, and washing troughs, the subsequent operations might be made to keep pace with the exposures. “By reproducing the negative a sufficient number of times, the turn-out of a machine constructed on the lines laid down by Fontayne might be increased indefinitely ; and as a simple gas flame would serve in the case of bromide paper, we may before long hear of the steam photographic machines workingall night, side by side with the steam typographic machines, for newspaper work. “ Fontayne proposed to work his machine by steam, and the description given in the News twenty-three years ago is so detailed and circumstantial, that there seem to be very few novel points which the modern patent-hunter can add and lay claim to. We hope to hear of the actual use of Fontayne’s machine during the present year. “ Ordinary photographic papers—such as Saxe or Rives —are, we believe, manufactured in widths of fifty-four inches, so that many negatives of ordinary dimensions might be printed from simultaneously.” Whether Fontayne’s machine—for we must in justice attribute the main features of the machine now patented to Fontayne—will come into general use or not as a means of producing photographs for book illustration, now that phototypic block methods for the rendering of half-tone have arrived at so considerable state of perfection, is a question which time alone can answer. Zebieh. AUSFUEMRLICHES HANDBUCH DERPHOTOGRAPHIE. Sixth Part. Introduction to Negative Processes and Daguerreotype, Talbotype, and Niepcotype. By Dr. Josef Maria Eder. With 73 wood-cuts (William Knapp, Halle, a/s Ger many). The sixth part of Dr. Eder’s magnificent woik fully sus tains the reputation of previous issues. In fact, in many respects the present part—which forms, by the way, the commencement of the second volume—is more attractive, and will have more fascination for the photographic student than any previous one. The beautiful Daguerreo type process is described and illustrated in the most com plete manner; the same may be said of the Talbotype method, both of which must still be included in every practical treatise on photography. The present part is most profusely illustrated, so that even to the photographer who is not very conversant with the German language, the book forms an intelligible and handy book of reference. Still, we are surprised that no publishing firm in this country has been found sufficiently enterprising to make an English translation of the work, which, when complete, must perforce be the standard book of authority. At the foot of every page is a closely-printed list of references, which not only stamps Dr. Eder as one of the most painstaking and indefatigable of authors, but at once infuses into the reader a degree of confidence which is certainly secured by the most legitimate of means. COLLODIO-CHLORIDE PRINTING. BY DR. E. LIESEGANG. It is not a new process I wish to speak on ; it has been described very often in the journals of all countries where photographic periodicals appear, and yet it is what the title says: The modern printing process, most successfully used in a good many establishments—at least, in Germany —and giving results superior to anything that can be done on albumenized paper. How is it that such a nice process, about which no secretsexist, has not made the journey around the world like carbon printing and gelatino-bromide ? I think this is explained by the fact that the results mentioned are only obtained by the use of a suitable coated paper. Now it happens that the paper used in Lichtdruck for the finest class of printing is just the thing we want, and since this has been recognized, and such paper can be bought at a price not exceeding that of plain Rives or Saxe, the print ing with collodio-chloride at once became popular. The principal arguments that speak for this process may be laid down in the following:—The paper prints much quicker than albumenized paper; all the finest tints in the high lights of the negative are strictly preserved during the toning and fixing process ; the washing of the prints is finished in one hour; the prints do not fade—at least, those made in 1866 are quite unchanged, as no case of fading has ever come to my knowledge ; a glossy sur face like that obtained by enamelling can be given to the prints in a very simple, quick, and costless way, without using a rolling machine. I may add, that where the pro cess has been introduced, the public likes the results, and prefers them to those obtainable on albumen paper. Good formulae for preparing collodio-chloride have been published many a time. The one I use runs thus In a glass beaker dissolve 8 grms. of nitrate of silver in 6 grms. of distilled water, by heat. Drop this solution in a bottle containing 135 cub. cent, of alcohol; in cold weather it is better to put the bottle in a vessel with warm water. Then 4 PAPER. little practice. add 8 grms. of soluble cotton, and after thorough shaking, 160 cub. cent, of ether; on further shaking, a greyish- white collodion will form itself. In another bottle dissolve one grm. of chloride of lithium in 35 cub. cent, of alcohol, together with 1 grm. of tartaric acid. This solution is 1° be dropped into the argentiferous collodion, which must be shaken all the time. This collodion will keep for any time if preserved in a well-corked black bottle, or in a paper on it at three of the corners, so that the right and below edge look a little over the wood (this will cause the collodion not to run under the paper), and the left edge of the paper may be turned up a little, but this will not be found necessary after a to be coated, with a knob fastened at the under side. Pin the Lichtdruck- fitting dark cover. Have a thin piece of wood, same size as the paper that is Now keep the wood with the left hand at the handle, as you would take a glass plate fixed to a pneumatic plate- io er, and pour the collodio-chloride upon the paper just as you would coat a glass plate with collodion. Having returned the surplus of the collodion to the bottle, take the pins away and hang the paper to dry. The paper will KeeP for some weeks. Some prefer to use a pink coloured Lichtdruck paper, whose colour will obliterate any trace of yellow that might form by keeping it for a longer time,
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