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The photographic news
- Bandzählung
- 12.1868
- Erscheinungsdatum
- 1868
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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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- Bandzählung
- No. 487, January 3, 1868
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Zeitschrift
The photographic news
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Band
Band 12.1868
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- Titelblatt Titelblatt I
- Kapitel Preface III
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- Register The Index To Volume XII 619
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Band 12.1868
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JANUARY 3, 1868.] THE PHOTOGRAPHIC NEWS. 3 was an hour and a quarter from the time the plate was pre pared till the development.” . It will be seen that in this instance Mr. Burgess gave four times the exposure he judged necessary. 'This exceeds the time generally judged necessary for the dry morphine plates; but we may remark that considerable latitude of exposure is permissible with most processes in which free nitrate of silver is not present, and Mr. Burgess, always aiming at extreme delicacy in his results, is not likely to risk any degree of under-exposure. Mr. Bartholomew sent us a day or two ago a further hint on the process as follows :— “ Etjham, Dec. 2Qth, 18G7. “ Dear Sir,—I find that one-fourth part glycerine in the morphine solution perfectly effective to keep a plate moist, and in no way interfering with sensitiveness or development, although kept twenty-four hours after preparation. This is a valuable quality on an emergency in hot weather. The lovers of albumen should try the acetate morphine in place of nitrate silver in the albumen coating of the plates. Of course, ammonia must not be present, but, if anything, acetic acid, in the albumen.—I am, dear sir, yours faithfully, Wm. Bartholomew.” As a simple method of preparing plates for a few hours’ keeping is one of the wants of photography, we have pleasure in commending this use of acetate of morphine to our ex perimental readers. THE LATE M. CLAUDET. We closed our last volume with the record of the death of one whose name had long been familiar to photographers, and we have the melancholy task of ushering in a new volume with a similar chronicle. Antoine Jean Francois Claudet, F.R.S. and Chevalier of the Legion of Honour, died suddenly at his residence in Gloucester Road, on Friday last, in the 71st year of his age. He had been active and vigorous and well up the time of his death. A recent accident in getting off an omnibus had confined him to the house for a few days a short time ago ; but he had recovered, and had himself assured us, recently, of his perfect vigour. About a week before his death he called upon us and left a message asking us to see him shortly, as he had an interest ing novelty to bring under our attention. The day before Christmas Day he made various appointments, and planned various duties at the studio in Regent Street, for the Friday following, on which day he suddenly died. The labours of a life so devoted to photography as that of M. Claudet demand a more extended notice than wo can give now ; but a brief note of the prominent events, chiefly within our own recollection, may be interesting here. Al though, as is well known, a Frenchman by birth, M. Claudet had been upwards of thirty years in this country, about eight and twenty of which had been devoted to pho tography. At the time when the discoverer of the Daguer reotype process was liberally pensioned by the French Government, in order that the art might be as free to the world as the sunlight by which the results were produced, a patent was secured in this country, and M. Berry, the agent in the transaction, had this patent for sale. M. Claudet— then engaged in the glass trade, as the partner of Mr. Houghton, a partnership which has since continued—became the possessor of a part, which consisted in the right to use three cameras in practising the then undeveloped art, por traiture not having at that time been attempted. Mr. Beard soon afterwards bought the patent, or the remainder of it, and commenced, in 1840, the production of photographic por traits. About the same date, but a little later, M. Claudet com menced the practice of portraiture in the Adelaide Gallery, where his studio remained for many years. Mr. Beard, not being aware of the nature of the rights in the patent pre viously acquired by.M. Claudet, was not prepared for those operations in portraiture, infringing what he conceived to be । his sole rights, and applied for an injunction to restrain M. Claudet from the practice of photography. The latter gentleman, however, made good his claim, and has con tinued the practice of portraiture to the present day. Having once entered into photography, he devoted himself ardently to its improvement and development, and has been always one of the most zealous workers in its promotion and elevation in all respects, as science, art, and profession. During the first year or two of operations in portraiture, a single achromatic meniscus lens was used, the diameter being about one inch and the focus three inches, the size of the plate being that known as the sixth size, or 3 J by 22 inches. For years it was the practice to place the sitter in the open air to secure the most uninterrupted light. Much has changed since then, at least in the appliances of the art, although a serious question may be raised as to whether improvement in results has kept pace with improvement in means and appliances. The earliest of M. Claudet’s contributions to the art was a mode of obtaining increased sensitiveness by using chlo ride of iodine, instead of iodine alone. The use of bromine, however, superseded the use of chlorine, and M. Claudet availed himself of it, using a mixture of bromine and iodine as his second coating on the silver plate. The paper on the use of chlorine in the Daguerreotype process was read before the Royal Society in 1841, and his communications to the scientific progress of the art since that time have been constant. Although it is to the Daguerreotype process his experiments have been mainly confined, he took up the Talbotype process at a very early period, and was one of the earliest in the production of photographic portraits on paper. With the Daguerreotype process he was especially enamoured, and was the last to discontinue the practice of Daguerreotype portraiture in London. We are not certain that he did not up to the present time occasionally practise this process. Of his multitudinous labours we cannot speak in detail now. His name is associated with so many inventions that we cannot in a brief obituary notice recall all. His dynac- tinometer, his photographometer, his focimeter, his stereo monoscope, his experiments in connection with binocular vision, his system of unity of measure for focussing enlarge ments, his moving focus and focus equalizer, his system of photosculpture, and many other results of his experimental researches, are familiar to most of photographers. His contributions to photographic literature were copious and interesting, the idiomatic excellence and elegance of his English being remarkable. Although the scientific aspects of the art claimed his first attention, he was ever the ready and eloquent champion of its art claims. In controversy he was able and acute, but free from bitterness or acerbity, all his communications being eminently courteous and concilia tory. For many years he was a member of the Council of the Photographic Society, and frequently contributed to the proceedings. He had attained high recognition of his many labours, and, in addition to many medals, was a Fellow of the Royal Society and a Chevalier of the Legion of Honour. Although he had attained the age of three score years and ten, he was still active and energetic in his experimental re searches into the science of the art, literally dying in harness. Critical Jlotices. VIVIEN AND GUINEVERE. By Alfred Tennyson, Poet Laureate. With Eighteen Photographic Illustra tions, from Drawings by Gustave Dore. (London: Edward Moxon and Co.) The notion of Dore’s illustrating Tennyson seems at first sight altogether incongruous. What, it is naturally asked, can the exuberant and bizarre genius of the great French
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