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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
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- Public Domain Mark 1.0
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- urn:nbn:de:bsz:14-db-id1780948042-186800009
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- http://digital.slub-dresden.de/id1780948042-18680000
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- oai:de:slub-dresden:db:id-1780948042-18680000
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- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 488, January 10, 1868
- Digitalisat
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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
Band 12.1868
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- Titel
- The photographic news
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an old-fashioned rhyme, perhaps a trifle vulgar, but appro ¬ priate,— The translation of this process will soon appear. directly from the pressure-frame to the soda solution, the tone produced is somewhat darker; it is still, however, a chestnut hue—a dark chestnut. The soluble silver salts in the print have combined to produce the slight modification of hue from a light chestnut to a dark chestnut. But the dark chestnut hue is not produced instantaneously; it requires several minutes, probably a quarter of an hour, the length of time required to fix the print; that is, to remove the chloride of silver in the print that has not been modi fied by the action of light. During this quarter of an hour the well-washed print retains the same light chestnut tone which was produced the moment it was immersed. Hypo sulphite of soda, therefore, alone produces on a silver print a chestnut-coloured tone, and at the same time dissolves out all the unchanged chloride of silver: this is its fixing property. Now let us see if a solution of chloride of gold has any effect upon a silver print, either on collodion, on albumen, gelatine, or plain paper. We all know that this solution has been recommended as a means whereby to intensify a negative; and whilst performing this operation we have observed how the tone of the negative gradually changes from the grey-white of the silver picture to an inky hue; if the solution be strong, the change is very rapid, almost in stantaneous. The intermediate tones, before the ink-hue has been attained, are more pleasing, because more warm, being a varied mixture of red and blue. The same result is observed when a paper-print is immersed in the gold- toning solution, consisting simply of neutral chloride of RESUSCITATION OF THE Old) TONING AND FIXING-SOLUTION, Ann the Treatment of this Solution when Exhausted or Saturated. BY PROFESSOR JOHN T0WLER, M.D. It requires more than ordinary boldness and a daring dis position to give countenance to a condemned fashion, a cut of coat out of date, or an ostracized actress. The same “ Each big flea has a little flea Upon his back to bite ‘un ; Each little flea has lesser fleas, And so ad infinitum." the chloride of gold, we have the result of the two com bined, which is slightly different from that of the gold- salt alone. But if we examined carefully, or observed accurately, we must have seen that the gold-salt not only changes the tone of the silver print, but seems also to exercise a bleaching influence upon the colouring matter of the print. This property is observable both on the negative and on the print; and it is to this pernicious effect that wo attribute, or may frequently attribute, the improper and unseemly contrast of excessive black and white on prints : they have been bleached, the extremely fine markings have all disappeared, the middle tones have become very faint, and the inky blacks alone piedominate. We are inclined to think that, in every case of substitution under similar circumstances, a part of the print must be lost. Here gold takes the place of silver; and, where the markings or shades are very fine or thin, it is natural to suppose that the silver, as it retires all at once, carries with it, as it were, in a vortex, the cause or substance that attracted the gold. But we are beginning to theorise, which was not our intention. The separate and independent action of chloride of gold on a silver print, then, is two-fold: it tones tho print, and bleaches it. The final tone is that of an inky blue. Let us now examine the results of the combination of these two toning materials on a silver print. There are two cases: tho one is when the print is submitted to the gold solution first, and then to the hyposulphite of soda after wards ; and the other is when the print is immersed in a mixture of the two solutions at the same time. It is a law in mechanics, that the resultant of two or more forces is the same, whether the forces act separately or co- sentaneously ; in chemistry it is very probable that the law will not be always verified ; for one chemical ingredient, by getting the start, may do damage, which the other may fail to retrieve. In this way the gold toning solution acts; that • is, when it is used separately and prior to the use of the ' hyposulphite toning solution ; for by its bleaching property ’ the fine and thin shades, or mezzotints, as well as the deli cate lines, points, and marks, are all more or less deteriorated, । and the print, if kept in this toning solution until the blue or the violet tint has been arrived at—until, in fine, the gold has displaced the silver which originally formed the picture Intimating that each little knowledge not only adds to the general store, but begets other knowledge before hidden and unthought of. We should therefore give our attention more particularly to the art of picture-making, and not let the manipulative part monopolize quite so much of our thoughts as it has hitherto done, but bring ourselves to consider the means as inferior to the end; and we shall yet produce tangible proofs that photography is not only a mcchanico- chemical curiosity, but the means of producing truthful, beautiful, and artistic pictures; and the year that we this day enter upon will be to all, both photographically and socially, a truly progressive, prosperous, and happy new year. other toning and fixing solutions. It remains to be seen whether, by the slight modifications introduced, theie are no drawbacks in the way of the prints turning yellow, after a time, by exposure to air or moisture; other faults or dis advantages we do not anticipate, nor do we regard the more rapid exhaustion of the fixing powers of the hyposulphite solution of any account or moment; in fact, some photo graphers never use this solution more then once ; and wo have ourselves frequently made this recommendation. Let this advice, however, be recanted, for we find that tho solu tion can be used repeatedly before it becomes saturated with chloride of silver ; and, until it is saturated, it is operative of good and uniform results. Before wo give the exact formulaj for the preparation of the toning and fixing solution, it may bo well to discuss, in a few words, the separate toning functions both of hyposul phite of soda and of chloride of gold (for tho former is just as much a toning re-agent as the latter), and then to examine the results when the two arc combined. In the first place, let a print, when taken from the pressure-frame, be well washed in several changes of water (in the dark room, of course), and then immersed in a strong solution of hyposulphite of soda. You are all familiar with the almost instantaneous change of tone produced on tho print, from whatever shade of colour it may previously have had, to a very light chestnut; this chestnut hue is tho separate and independent result of the hyposulphite of soda, and it has been adopted by Beyse and Joss as tho fundamental flesh-tones in their patent* for producing colours on prints by development. If the print be not previously washed, but removed boldness and daring will scarcely preserve us unscathed when we assert that, in our humble opinion, the old toning and fixing solution, consisting of hyposulphite of soda and chloride of gold dissolved in water, is equal, if not superior, to any other toning and fixing solution now in vogue. This assertion is not founded on fancy, on a mere desire for change, on .eccentricity, but on the result of numerous prac tical experiments; from these experiments we deduce (sub ject, of course, to amendment, change, or revision, according to the development of further results) that the toning and fixing solution of hyposulphite of soda and chloride of gold is more economical, more certain in the production of a given tone, and more easy of manipulation than any of the gold. If carbonate of soda, phosphate of soda, citrate of I soda, acetate of soda, or chloride of calcium, be mixed with
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