Suche löschen...
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
- Lizenz-/Rechtehinweis
- Public Domain Mark 1.0
- URN
- urn:nbn:de:bsz:14-db-id1780948042-186800009
- PURL
- http://digital.slub-dresden.de/id1780948042-18680000
- OAI-Identifier
- oai:de:slub-dresden:db:id-1780948042-18680000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
- Strukturtyp
- Band
- Parlamentsperiode
- -
- Wahlperiode
- -
- Bandzählung
- No. 488, January 10, 1868
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
- -
-
Zeitschrift
The photographic news
-
Band
Band 12.1868
-
- Titelblatt Titelblatt I
- Kapitel Preface III
- Ausgabe Ausgabe 1
- Ausgabe Ausgabe 13
- Ausgabe Ausgabe 25
- Ausgabe Ausgabe 37
- Ausgabe Ausgabe 49
- Ausgabe Ausgabe 61
- Ausgabe Ausgabe 73
- Ausgabe Ausgabe 85
- Ausgabe Ausgabe 97
- Ausgabe Ausgabe 109
- Ausgabe Ausgabe 121
- Ausgabe Ausgabe 133
- Ausgabe Ausgabe 145
- Ausgabe Ausgabe 157
- Ausgabe Ausgabe 169
- Ausgabe Ausgabe 181
- Ausgabe Ausgabe 193
- Ausgabe Ausgabe 205
- Ausgabe Ausgabe 217
- Ausgabe Ausgabe 229
- Ausgabe Ausgabe 241
- Ausgabe Ausgabe 253
- Ausgabe Ausgabe 265
- Ausgabe Ausgabe 277
- Ausgabe Ausgabe 289
- Ausgabe Ausgabe 301
- Ausgabe Ausgabe 313
- Ausgabe Ausgabe 325
- Ausgabe Ausgabe 337
- Ausgabe Ausgabe 349
- Ausgabe Ausgabe 361
- Ausgabe Ausgabe 373
- Ausgabe Ausgabe 385
- Ausgabe Ausgabe 397
- Ausgabe Ausgabe 409
- Ausgabe Ausgabe 421
- Ausgabe Ausgabe 433
- Ausgabe Ausgabe 445
- Ausgabe Ausgabe 457
- Ausgabe Ausgabe 469
- Ausgabe Ausgabe 481
- Ausgabe Ausgabe 493
- Ausgabe Ausgabe 505
- Ausgabe Ausgabe 517
- Ausgabe Ausgabe 529
- Ausgabe Ausgabe 541
- Ausgabe Ausgabe 553
- Ausgabe Ausgabe 565
- Ausgabe Ausgabe 577
- Ausgabe Ausgabe 589
- Ausgabe Ausgabe 601
- Ausgabe Ausgabe 613
- Register The Index To Volume XII 619
-
Band
Band 12.1868
-
- Titel
- The photographic news
- Autor
- Links
- Downloads
- Einzelseite als Bild herunterladen (JPG)
-
Volltext Seite (XML)
22 THE PHOTOGRAPHIC NEWS. [January 10, 1868. —will be very much impaired in vigour and brilliancy ; in fact, it will be a feeble, a bleached picture. Now when this bleached picture is immersed in the so-called fixing solution, it is submitted to two actions—a toning action upon the parts which form shades and middle tints, and a solvent action upon the chloride of silver which has undergone no physical change from light. Neither of these actions has any power whatever to restore the parts that have been destroyed by the gold toning solution, nor do they add to the vigour of the print by increasing the contrasts, because the toning of the hyposulphite does not owe its efficacy to accretion or deposit. Hence it is that such a picture leaves the fixing solution os weak and bleached as when it was placed in the same; it has simply changed its tone and been fixed. Have we any reason to allege that the action is different when the print is immersed at once in a mixture of the two toning solutions? Let us sec. Suppose it is immersed in the hyposulphite first, until it is toned to a chestnut hue, and fixed. It will be observed that, in this case, it has undergone no deterioration such as that which is produced hy the gold toning solution ; in fact, we shall be constrained to come to the conclusion that hypo sulphite of soda tones and fixes without bleaching. Secondly. We shall observe, furthermore, that all attempts to tone the print with the gold solution after it has been toned and fixed in the soda bath are futile ; we can hence conclude that thelatter solution must have some restraining action upon the gold solution when the two are mixed together. These, then, are the only theoretical reasons at present known, which ought to induce us to rely upon the mixture of the two toning solutions, as preferable to the application of the gold solution first, and hyposulphite afterwards. In prac tice, we find that the print is much less injured in the mixed toning solutions than when treated by the modern method of toning and fixing in separate baths. In the mixed bath the pic tures are decidedly more brilliant, and every tone that can be composed of a chestnut hue and a blue-black by the varied ad mixture of the two solutions that produced them can be ob tained in this mixed bath if the prints are allowed to remain in it the proper length of time. Our readers may be in clined to think that the prints must be in some degree injured if they are allowed to remain several hours in the hyposulphite solution. We have not found this to be the case, and oar experience is derived from the toning and fixing of more than seven hundred stereographs during the last month. Some of the prints remained in the mixed solution over night, and were found the next morning as black as an engraving; if kept in still longer, the tone assumes a greenish tinge. But in all these cases there is no difficulty in removing every trace of hyposulphite from the prints by subsequent washing ; and when this is effected, there ought to be no alarm about their keeping properly. With these preliminary remarks, we will now proceed, and describe our present toning and fixing process. TONING AND FIXING SOLUTION. Water 32 ounces Hyposulphite of soda 8 Acetate of soda .., ... ... 4 drachms Chloride of gold 15 grains. Dissolve the gold previously in an ounce of water, and then add it to the stock solution. Keep the stock solution in an open bath all the time, and add to it fresh gold and hyposulphite when required. It is a good plan to dissolve fifteen grains of the gold salt in two ounces of water, and add a drachm of the solution to the bath each time or day just before you are going to tone. Throw into the solution also about half-an-ounce of hyposulphite of soda after each day’s severe strain upon it. In this way it will work for a long time, care being taken to supply fresh water as it becomes exhausted by evaporation or convection with each print when removed from the bath. The solution, too, is always ready and in good working condition to receive the prints direct from the pressure-frame, without any previous washing. In this way the bath is seldom overcrowded with prints at the same time, for, as one goes in, another, in general, is ready to be removed to the water-dish. (To be continued.) STUDIO HINTS. BY A PRACTICAL MAN. Varnishing.—As this practice will be most extensively adopted since Mr. Blanchard’s method of preserving prints has been made known, all who wish to avoid vexation and trouble in regard to the brush should keep their varnish in a wide-mouthed caper bottle, the flat brush fixed through the cork ; and as the varnish gets used and lower in the bottle the brush can be pushed further through the cork, to be always in the varnish. A cheap and effective substitute for a Glazing Press, and admirably adapted for the new cabinet portraits, may be arranged as follows:—A roller of beech or birch, from one to two feet long, and of good proportionate thickness, must be accurately turned and polished. The print is to be placed on a sheet of plate glass, or the top of a smooth, hard, heavy table, or it may be placed between pressing boards. The roller is then to be placed on the top, and worked backward and forward, mangle fashion, with a heavy lithographic stone. This will give a highly-glazed surface to prints at a small cost. Graduated Backgrounds (cheap, effective, and can be made by any one).—Get six or eight feet of the 4-ft. G-in. wide cartoon paper, or a very large sheet of brown packing-paper, some of which is made in very large sheets ; damp it, and strain against a wall, or strain on a frame previously covered with thin calico ; when completly dry and tight, mark a circle in the centre, or about where the sitter’s head would be; then put some common lampblack in a saucer or plate, and work it round the centre circle that has been left for the head, taking it up with a cloth as wanted. This, with very little trouble, will give an admirably graduated background, either from a dark centre to light outside for grey, white, and light heads, or a light centre to dark outside for dark heads. If the brown paper centre is to, dark, bring it up with a rubbing of flake white. This only wants trying, to be universally adopted, as it is so simple and so easily done. Stippling the Glass of Studios, so as to give a flat or ground appearance. This is best done with pure, good, bright and clear white lead, so mixed as to be what de corators would call stiff flatting. This should be dabbed or stippled on with the point of a new, good-sized sash-tool; an old worn-down brush is useless, and will only make dabs and smears. There is also another way of regulating the studio light; viz., by the use of thin blue gauze mediums, as used by panorama painters in producing some of their soft and graduated effects ; the blue gauze used in theatres for making the dresses of fays and fairies is the article to be used. This can be arranged so as to cover any desired part of the top or side lights in one, two, or three thicknesses, and be the means of producing a variety of soft, artistic, and satisfactory effects. The Cabinet Background will be found useful. It is formed by hanging three frames together; to fold, open out, or shut up like a large clothes-horse. This, judiciously used, will give great relief and roundness to the figure, as the light may be increased or diminished by merely splay ing or contracting the frame on the side nearest the window; a frame must also be arranged to soften the top light. The frames forming the two sides and back must be skeleton frames, to be covered with open leno or blue gauze, and, by their arrangement and modification, will produce a great variety of pleasing effects.
- Aktuelle Seite (TXT)
- METS Datei (XML)
- IIIF Manifest (JSON)