The photographic news

• Bandzählung: 12.1868
• Erscheinungsdatum: 1868
• Sprache: Englisch
• Signatur: F 135
• Vorlage: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: SLUB Dresden
• Rechtehinweis: Public Domain Mark 1.0
• URN: urn:nbn:de:bsz:14-db-id1780948042-186800009
• PURL: http://digital.slub-dresden.de/id1780948042-18680000
• OAI: oai:de:slub-dresden:db:id-1780948042-18680000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

288 THE PHOTOGRAPHIC NEWS. [June 12, 1868, used on which the print was made, the springs holding down the glass the same as they did the negative.” Aqubous Varnish. By C. MEINERTIT.—If we pour over a wet negative, just after it has been fixed and washed, the usual gum-arabic solution (1 ounce in 8 ounces water), it dries without any gloss, and the rubbing with the finger will produce a mark; but if the negative is allowed to dry first, then flowed with water and the gum solution quickly poured over it, it will leave a hard, glossy surface after spontaneous drying. The reason probably is, that the gum does not enter into the film so much in the latter instance as in the former, and remains a surface-cover, as it should be. “ PHOTOGRAPHY Cannot Lib.”—We have heard of a pro fligate son dressing himself in rags and being photographed in order to send his father the portrait, and so produce an impres sion of deep poverty and distress. A recent story illustrates how photography sometimes lends itself to false impressions in another direction. A young man, who received but 1,800 francs (about seventy pounds) a year salary, recently wrote from Paris to his unsophisticated country parent for assistance, and sent his photograph. The father replied, indignantly, " Rascal of a son, you cannot be as poor as you state, for in your photograph you are surrounded by vases, rich curtains, statues, and cascades in perspective. Not a sou from your affectionate father.” Ul Correspondents, OxONIENSIS.—From the recorded experience of those who have photographed Alpine scenery, the conditions of success appear to be much the same as in this country. In Switzerland the light is a little better than in this country. You will find it desirable to use a very fully bromized collodion, especially for subjects contain ing great contrast, such as snow scenery and pine forests. Avoid under-exposure in all cases. With snow and ice, give sufficient exposure and develop quickly. On page 582 of our Eighth Volume you will find some interesting information on the subject. Thomas STOTHARD.—The addition of chloride of barium referred to was to form chloride of silver, which, by its decomposition in the process of sunning, which was to follow, would generate hypochlorous acid, which, being a powerful oxidizing body, would assist in eliminating organic matter. Mr. Lea’s proposed mixture for cleaning glasses is 1 ounce of nitric acid and 1 ounce of bichro mate of potash in 1 pint of water. It is efficacious in cleaning glasses; but it is very corrosive if it touch the skin. We have not yet received the formula for using sulphate of zinc in deve lopment. W. J. A. G.—Our experience with the collodio-bromido process is not very extended; but we have used it after it has been two or three days mixed without disadvantage. The film is generally thin and blue when dry. As a rule, red blotting-paper, if in per fect contact with the backs, will answer to check the abnormal action of light; but painting is better. The method to which you refer requires verifying before it can be recommended. It is doubtful whether it is as certain as the ordinary collodio-bromide process. Failure with England’s process, or, indeed, most of the collodio-albumcn processes, is scarcely possible. W. H.—That to which you refer is decidedly the best ; we cannot recommend any other. T. B.—The only conclusion at which we can arrive is that the glass has changed colour by the action of light. The change from an exposure of four seconds to one of twenty-five or thirty seconds in a few years seems enormous ; but we have heard of similar cases in which the change in the colour of the glass from the action of light was the sole cause. Are you quite certain that the glass is clean inside and out? Try removing a pane of the glass and examining it, especially comparing the edge which has been pro tected by the sash-bar with the other portion which has been ex posed. The cost of reglazing, if the glass be the cause, will be repaid by the rapidity regained. We are glad that you find the articles on Pictorial Effect valuable. H. R.—Thanks for the photographs of the Observatory, which are very good. We do not know of anything, but will let you know if we hear of anything suitable. R. M. L.—The rapid discolouration of your printing bath and the dullness in the surface of the’ paper indicate that the bath is getting weak in silver, and is consequently dissolving the albumen. The weakness and poverty of your prints is probably duo to the same cause; but the print you enclose also suggests that the negative lacks brilliancy, and is fogged in the shadows. B.—In developing dry plates with iron, different treatment is neces sary to that permissible when employing pyrogallic acid. If a solution of protosulphate of iron, without any addition of nitrate of silver, be applied, it frequently injures or quite destroys the image. This is because it almost invariably contains some trace of free acid, and all acids have a tendency to destroy the latent image. Plain pyrogallic acid solution has no such tendency, because, although called an acid, it is not acid in its properties. Hence it is desirable, in using an iron solution, to add a little of a silver solution from the first. 2. We have not tried iron with collodio-albumen plates. We believe that Mr. England has found it possible to develop his plates by means of an iron solution. C. M.—You mistake the purpose of adding alcohol to the printing bath. It is not to coagulate the albumen, but to take the place of water, and so reduce the tendency of the water to dissolve the albu men, which it undoubtedly effects. About 3 ounces in a pint of solution are sufficient. J. G.—The peculiar qualities of the print you enclose are rather duo to the lens than the process by which they are produced. The softness, roundness, and depth of definition, and the absence of sharp lines or crisp rendering of wrinkles and texture of skin, are all due to the presence of a certain amount of spherical aberration in the lens. This quality is often useful in lenses for producing large heads ; the disadvantage is that, not being under the control of the photographer, it cannot in such a lens be modified at will. The degree in which it is present in the lens with which the large head enclosed has been taken would unfit it for smaller images requiring fine definition. 2. The tone is too cold, according to our taste, otherwise the picture is fine. B. L.—If the base-line of the picture is the same length as the focus of the lens, the amount of angle included is a fraction over 53 degrees. 2. The triple will give very good effects in portraiture if you have light enough. X. Y. Z.—Thanks for your well-meant letter; but the matter is unworthy of notice The remarks to which you refer possess no weight in themselves, and derive none from their source. It is therefore waste of time to give them a second thought, and would be waste of space to enter into the question. Lessons in Pictorial Effect and in Silver Printing.—A correspondent signing “ T. M. G.,” who wishes to thank us and our contributors for the lessons in Pictorial Effect by Mr. Robin son, and in Silver Printing by Mr. Bovey, sends us some capital card pictures to show that their instructions are not thrown away. The groups are thoughtfully and well composed, and the printing and toning arc excellent. Another correspondent writes to say that although he had been associated with art for many years before he became a photographer, he was deeply indebted to the instructions of Mr. Robinson for a much fuller knowledge of the applicability of art principles to photography than he had before possessed. We are obliged to these and other correspondents who write to a similar effect, but they will readily see that we cannot publish letters in full which are simply devoted to kind expressions of gratitude to our contributors and ourselves. Vanity.—We have no practical experience with hair dyes. If sal ammoniac be employed before the nitrate of silver it will form chloride of silver, which is not required. A weak solution of nit rate of silver applied in the light, followed by a solution of gallic acid, will produce a good dye. Possibly we can give you more details in our next. J. C. B.—See article in our next. Several Correspondents in our next. Photographs RegistereD. Mr. D. RICHARDSOX, Darlington, Photograph of Group of the First Railway Engine, 4c. Mr. WINTER, Cheltenham, Photograph of Dr. Barry. Mr. Wyatt, Fareham, Hants, Two Photographs of Wymering Church and Choristers. One Photograph of Vicar of Wymering Church. One of the Brotherhood of the Home, Wymering. One of Vicar, May Queen, and the Home, Wymering. Mr. Tear, Clapham Road, Photograph of Picture 11 George’s Grave.” Mr. F. C. EARL, Worcester, Four Photograph of the Reredos in Worcester Cathedral. Mr. J. Eastham, Manchester, Two Photographs of Dr. J. Dixon. Mr. Wyatt, Fareham, Hants, Pt otograph of Vicar and Sisterhood, Wymering. Photograph of Vicarage and Chapel, Wymering. Photograph of Vicar and Brotherhood, Wymering. Mr. Willis, Scarboro,’ Photograph of 0. Farrell. Mr. J. Robson, Birmingham, Photograph of “ Little Nell.”