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The photographic news
- Bandzählung
- 12.1868
- Erscheinungsdatum
- 1868
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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. 507, May 22, 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
- Ausgabe Ausgabe 1
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- Register The Index To Volume XII 619
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May 22, 1868.] 247 THE PHOTOGRAPHIC NEWS. muddy, or get so after standing half an hour or so, should have 3 the alcohol put to them, and heated more or loss ; when the iron is heated with alcohol, add the acid, after short boiling (say five minutes) gives most half-tone ; up to half an hour, more vigour. 1 The common iron used by dyers, when very slightly heated, just t enough to slightly peroxidize part of it, gives by far the most 3 half-tone of any, and is quite invaluable when your pictures are ] at all hard ; your materials must, indeed, bo in a bad condition r if you cannot get perfect softness with this iron. This difference / consists entirely in the different normal power of each iron to , absorb oxygen, very much more than upon its preparation ; by 3 that I mean the number of grains used, or the amount of acid. 1 Of course their action is varied according to strength ; but it is r the particular developing power of the iron that is wanted to suit 9 the state of the collodion and bath. Nearly as much change , can be made in the character of the picture, according to the kind of iron used, as there is in the collodion ; this is quite 3 irrespective of the number of grains or amount of acid. It is t highly important to suit the developing power of the iron to 3 the state of bath and collodion ; for if it develops too quick for [ the collodion, the pictures will be hard. Every kind of iron can t be kept ready by having small bottles quite full, with good 3 corks; in this way it will keep indefinitely. Mix the two I extreme irons according to the result required. Iron solution r left to peroxidize is not near so good as when it is made at once , by heat. If a bottle full of perfectly plain protosulphate of iron 3 be put in the light, although the stopper is quite air-tight, and > no seeming change takes place in it, yet, after having been in t the light for a month, when the glacial acid is added to it, it I will instantly absorb oxygen, and completely fail to develop a 1 picture worth anything. When methylated alcohol is used for I the development, it is often in itself alkaline, therefore needs no j alkali added to it. I (To be continued.) DRY-PLATE PHOTOGRAPHY. DY S. BEVERLEY.* Having promised you a paper on dry-plate photography, you may naturally expect to hear something of the differ ent dry processes in general use ; but I may as well confess at the outset that my experience with dry plates has been confined to thecollodio-albumen process (England’s method). 1 have, however, no doubt that any of the recognized dry processes will do quite as well; but for the same reason that , some of you prefer the wet process to the dry (because you r are used to it), I prefer England’s method to any other for t out-door work, and I would advise those of you who intend i to try dry plates to consider which is the simplest and the best, and then get every requisite for that process befoie you begin. Prepare the plates carefully, being sure you omit ’• nothing. You should, before exposing, let the plates be thoroughly dry, or they are sure to develop unevenly, and you might blame the process. I believe that many persons give up dry plates on account of the failures they have at , the commencement, through nothing but lack of patience. Being used to taking a negative in ten minutes, from coat- > ing the plate to finishing, they do not know how to wait I until a plate dries ; on having done so, they hurry through the development, make their pictures hard, and then com plain that they cannot get the same harmony, the same soft ness, combined with brilliance and vigour, that they -can with wet plates. We should be inclined to ask : Why not? If you under-expose or under-develop a wet plate, you get a hard picture, or one without detail, or both ; you can get . nothing worse with dry plates. If you very much over- , expose and over-develop a wet plate, you do not get brilliant . prints; it is only the same with dry plates ; and as the deve- , lopment of dry plates is slower and more under control than wet-plate development is, if a person fails with dry plates he is more at fault than if he fails with wet plates. Patience is a virtue that every photographer must possess, and if any of you should fail to get good results when commencing dry plates, please remember, or try to do so, the numberless * Bead before the Oldham Photographic Society, April 30th. 9 $ times you failed when commencing with wet plates ; and I can assure you, if you persevere, you are sure to succeed. The out-door photographer who works with wet plates has to contend with many difficulties. Landscape scenery does not come to him to be photographed ; he must go where it is ; and in doing so he must take his traps with him, which, to say the least, is enough to spoil the pleasure of a day out. And this is not all. Arrived at the scene of action, he has sometimes to go a quarter of a mile for water to wash his plates, and more if he fixes up his tent on the road, which is often the case, on account ot the difficulty he finds in getting into out-of-the-way places with so much luggage. He is perpetually annoyed with dust, and, what is worse, plenty of prying people, who congregate about any thing they do not understand ; and any body who has tried it knows how seldom they can get a view without some one wishing to improve it by standing gazing into the camera, and that such an acquisition to the view does improve it who can doubt ? Again, the difficulty in removing from one place to another is so great that the wet-plate photographer often carries camera and stand two or three hundred yards around his tent, returning each time to develop his plates, the result being that he returns home thoroughly exhausted, and often with little success. Let us now accompany two ardent photographers into the country. They are going together for a day’s pleasure. The weather is beautiful. What a lovely change from working in the operating room, on a hot summer’s day, to a ramble in the country, where they can, for one day at least, inhale the pure country air, instead of the poisonous fumes of the smoky town I Both have with them their apparatus. One carries a tripod in one hand and a small parcel in the other, and walks along as though he were empty-handed; the other carries in one hand a parcel (or, rather, a large box, containing camera, chemicals, &c.), in the other, and also suspended by a strap round his neck, a still larger box. Their journey is about three miles, and as they cannot go by rail, of course they must walk. The first mile or so is got over pretty easily, and the man carries his luggage and complains not; nay, he thinks he can manage very nicely. His parcels are not over heavy, but as they near their destination he begins to think the weight increases. They arrive at last, however, and pick out a view, agree upon a place of meeting, in time to return home. The dry-plate man has exposed a plate before the wet plate man has cleaned his first plate, and, if he has plates enough with him, can take two views for the wet-plate man’s one the day through. I will not dwell upon the difficulties experienced by the wet-plate man, as most of you are aware of them ; let it suffice that he meets the dry-plate man, who has exposed his plates with little or no trouble, and has enjoyed himself amazingly. When they are returning home they meet a friend, who desires to know how far he has carried those things. “ Not far,” says the wet-plate man ; “ only about four miles, and two to go.” The friend jogs along, and the wet-plate man hears, floating along the breeze, the lovely words, “ Britons never shall be slaves 1” Many of you may say you are aware that it is less work to take landscape scenery with dry plates than with wet; but you know not until you return home what you have got. But I tell you a person accustomed to dry-plate work knows, when he has exposed his plates, what sort of pictures he will have ; he has seen the view he wants on his ground glass, exposed his plate, and takes it home with as much confi dence as if it were already developed. The formula I use is the one given by Mr. England, or near it; you have all seen it in some of the photographic papers or Yeak-Book. But, to remind you of it, I will here state it:—Pour collodion on a clean plate, and sensitize in a 30-grain bath, as for wet plates, then wash until all greasi ness disappears ; next pour on a solution of albumen con taining a few drops of liquid-ammonia; let it flow over the plate like collodion, and return to the bottle. Repeat this two or three times; wash moderately. Now carefully pour
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