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The photographic news
- Bandzählung
- 27.1883
- Erscheinungsdatum
- 1883
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- Englisch
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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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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- Bandzählung
- No. 1274, February 2, 1883
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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. 77 FEBRVARY 2, 1883.] air-bells, and upon this lay the smooth side of the paper, being at the same time careful not to create any bubbles. There are three ways of putting the paper on the bath: the first is by holding the opposite corners in each hand, allowing the sheet to fall in a convex form gradually on to the solution, viz., the centre first, and corners last; the second is to lower one corner first, and slowly drop the other portion; the third, and much to be preferred method, is to place the extreme edge on the solution, holding it lengthwise, that is to say, the side that measures about 22 inches between the two hands ; then with a quick and even motion carry the edge across the dish; the whole of the sheet will now be on the bath. Any small particles of dust which may have fallen on the surface of the solution will thus be carried to the opposite side. If the operation has been carefully performed, the sheet may be drawn slowly off at the expiration of forty seconds, and thrown across one of the wooden rods, albumenized side outwards. One end of the rod being inserted in the plank or framework, the slight angle pro duced by the holes not being bored straight, will be found sufficient for the excess of albumen to run off at the two lower corners, without any danger of the sheet drying unevenly or slipping off. A number of these rods should be always at hand, so that sheets need not be taken off them until nearly dry. During the time of floating and drying, the temperature must be kept up to at least 80° F., or a good surface is not obtained. Great care must be taken to keep down dust, as any particles settling on the paper during drying will be sure to remain there. Doubly albumenized paper is treated similarly to the foregoing, but the first coating is coagulated by means of steam. It is afterwards re-floated and dried. Very few professional photographers attempt albu- menizing their paper, most probably on account of the difficulties arising from dust and indifferent samples of plain paper, which only the most experienced eye can detect, and the lack of special apartments to carry on the work ; also, as an excellent article can always be obtained from the manufacturers, there is no reason why the photo grapher should be at the trouble. The sensitizing bath is essentially composed of a solution of nitrate of silver in water. Many additions have been recommended, such as the nitrates of soda and potash, methylated spirits of wine, camphor, ordinary potash alum, sugar, &c., also converting it into ammonia nitrate of silver, but no very distinct advantage appears to have been gained thereby. The proportion of nitrate of silver per ounce of solution may vary from 30 to 60 grains ; beyond these limits it will not be at all necessary to go. The character of the negatives to be printed must be taken into consideration. Whereas a properly exposed wet plate negative would produce a bright print on a bath only 30 grains strong, an indifferent gelatine dry plate may require the strength to be 60 grains; then, again, with albumenized paper containing 10 to 12 grains of a chloride salt per dunce of albumen, from 50 to 60 grains per ounce would invariably produce the best results. Negatives 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 tothe 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. In our next lesson we shall consider sensitizing more in detail. ON GRADATION IN GELATINE NEGATIVES. BY EDWIN COCKING. I must still continue to write something about the work done by photographic tools (rather than of the tools themselves), however clear those tools may be, and having studied photographic results very much lately, a few thoughts about them may not be out of place at this time of year. There is no occasion to define the advantages of the gela tine cliche, so that any remarks I have to make must be upon some of the deficiencies which are evident in the pictorial results. The great matter which made itself conspicuous, was the prevailing monotony of light and shade throughout many pictures. I might, perhaps, better define it as an absence of variety of tone and colouring. I can best illustrate what I mean by supposing a piece of music written for an orchestra, where it was so arranged that, from the begin ning to the end, all the instruments were always used, the result being only a division into two parts—loud and soft; no play of fancy in bringing in here and there so me of the essential colouring effects produced when the strings, the light wind, and the heavy (brass) wind instruments are used with design and skill. Now many photographers that I have seen suggested this idea ; they began on one side the picture and went right on to the other side without any change in local colouring, the actual result being an amount of flat mono tony in the tout ensemble ; and the question arises, does this come from the nature of the gelatine plate, permitting so very, very little difference in treatment of parts—in other words, so little local intensification 'I So that, to resume my simile, the whole orchestra of monotone has been set going, and the same effect goes on from beginning to end. Those who can go back some twenty years can recal the different effects produced in the days of collodion, when it was possible to localize intensification, and so produce a greater variety in the quality of the light and dark por tions of a picture; and, if I mistake not, we had then examples of a beautiful gradation of tone from the fore ground to some distance far away, which now appears to be absent in so many of our present results. This want of variety in gradation of tone in gelatine negatives (taking the average) is the one deficiency against the thousand advantages which our scientific confreres should turn their earnest attention to. We want the power of getting a greater number of clear and self-existing tones to compose the picture with; and, until we have that power at our command, we seem almost to be the slave of the mechanism of this really marvellous gelatine revolu tion. I am inclined to think that many a print is sent out into the world which its producer was not satisfied with ; but it was utterly out of the power to make any better result, and so this has led to a choice of subject matter where the two broad effects of loud and soft would be at all rendered. This want is most apparent in many large photographs produced from small ones, where the scale of tone is very limited : we have more detail, more softness, and in parts more similitude to nature—whether portrait or landscape ; but at the same time, when viewed from a little distance, there is so little effect of standing out, so little of the extreme points of dark and light, united with a large quantity of intermediate variations, that some pictures look as if they had been worked all over first of all with some dark colouring matter, and then but a few feeble attempts at definition with some darker matter. To those who have handled a brush in painting, the wish has fre quently arisen, how satisfactory it would be to be able to heighten that part, depress another, harmonise many crudities, and to prevent the monotone orchestra from pursuing its Polyphemus tread. When a photograph possesses a fair amount of gradation of tone, the remark is at once made, “ Oh 1 how like an engraving.” Now, as the engraving is a translation of some well-composed painting, so should a good photograph be also a good and artistic translation of some well-chosen figure or landscape. Depend upon it, this is the direction in which gelatine workers who profess artistic feeling will be looking in. For, as I have said before, there are one thousand advan-
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