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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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- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Parlamentsperiode
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- Bandzählung
- No. 512, June 26, 1868
- Digitalisat
- SLUB Dresden
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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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JUNE 26, 1868.] THE PHOTOGRAPHIC NEWS. first volume of the News. However complicated it may appear from that description, the apparatus itself is perfectly simple, and if any manufacturer should feel disposed to make it, I can only Bay that both the single and stereoscopic apparatus are quite at his service. Five minutes’ explanation would make the working perfectly intelligible. Having given up the “ camera " for the “ brush” for some years, I have not used any of the new developers, some of which I think would be pecu liarly adapted to the working this process. Perhaps, however, the developers I described would have some advantage over the others, inasmuch as with that the negative does not fog by exposure to light after the developing action is once set up. Probably organic matter might cause it to fog if exposed to light before fixing. However, it is very desirable to get sufficient density in the negative at once. There has been much written lately upon enlarging from small negatives, but nothing can be more simple and inex pensive than thescamera for that purpose, which I described also in the first volume of the News : the process being to take a perfect positive in the camera from the small negative, either the same size or a little larger, and from that, before varnishing, to take a negative for printing up to the size re quired, if that size be not too large for sharpness on the ground glass.—I remain, dear sir, yours truly, Thomas Bakrett. Red Hill, Reigate, \^th June, 1868. MODES OF TONING. Sir,—I have read with much interest the papers from the pen of Mr. Bovey, but last week I was surprised, not so much with his manner of toning, as.with the sweeping assertions con voyed in that paper. He lays down his theory as the only cor- rectone; the proving of this rests with himself, but it does seem strange that so many high authorities should for so long a time have been altogether wrong. Without classing myself amongst those authorities, nor yet amongst those “ who borrow ready manufactured ideas, and consider themselves clever because of their borrowed plumes.” I ask leave to state my own experience, which is directly opposed to that of Mr. Bovey. I wash my prints well in six or eight waters, and then rub each one with a bit of cotton wool till no trace of silver can be observed in the last water. I then put them into one of “ those abominable and unscientifically concocted messes known as alkaline toning solutions,” which Mr. Bovey says “ will inevi tably produce mealiness, &c.” I have not seen any of Mr. Bovey’s work, so cannot judge of its superior merit; but I take the liberty of enclosing three prints from my last batch. Your opinion of them will oblige. We have a proverb here, in the North country, that “ doctors differ, and so do divinesso also do photographers, and it may happen that truth lies between the differing parties.— I am sir, your obedient servant, G. B. [In toning, as in many other branches of photographic opera tion, piactice is considerably ahead of theory, and most of the toning formula are empirical rather than scientific. Very little has been written, and very littlo is commonly understood, about the theory of toning. Not ono photographer in a thousand, perhaps, knows why he adds acetate of soda, chloride of lime, carbonate of soda, &c., &c., to the solution of chloride of gold ; whilst many thousands, by carefully following the various formula which experience has proved to work well, succeed in producing good results. The prints sent by our correspondent are excellent. He does not state the formula employed : pos sibly the term “ alkaline ” may bo a misnomer in reference to it, as it is to the bath with acetate of soda. We think that Mr. Bovey’s theory is open to discussion, but as a practical priuter of very great skill and much practice, and a thoughtful observer, his opinion is entitled to careful consideration. His practice, we know, produces admirable results. In any case it will be wise to road carefully the complete article, finished this week, before discussing the question.—Ed.] Ualk in the Studio. Patent Artistic Printing Process.—An interesting ex' hibition of examples of a process patented by Mr. Frederick Piercy is now open at Mr. Graves’ Fino Art Gallery, No. 11, Haymarket. The portraits consist chiefly of largo vignetted heads in various proportions up to life size. The result is obtained by a mode of applying lithographic printing to the photograph, which, in conjunction with skilful artistic labour, produces a singularly pleasing effect of modelling and finish. In some respects the pictures have the appearance of a careful and elaborately worked crayon picture on a tinted ground; but there is beyond this an effect sui generis which we have not seen produced by any other means. We hope shortly to publish the details of the process ; but although it consists in the appli cation of a mechanical method of printing, the results are dependent on the employment of a high degree of artistic skill which Mr. Piercy has brought to bear in the very admirable examples now on exhibition, of which we recommend an examination. Cabinet Portraiture in America.—We have~recently had the pleasure of examining a selection of cabinet portraits by Mr. Fassett, of Chicago, which are amongst the most charm ing examples of this style-of portraiture we have met with. Original, graceful, and spirited in pose, they illustrate how admirably the cabinet size permits the rendering of pictorial effect in portraiture. The lighting is very perfect indeed, producing exceedingly brilliant and perfect effect of light and shade, and, at the same time, great delicacy and fine modelling. Some examples, with painted background, of an interior are capital in effect, the design being quiet, natural, and unobtru sive, and in all cases preserving a correspondence with the lighting on the figure. With such examples as those before us we can readily understand that the cabinet portrait must become a very decided favourite with the public, as we under stand that they have already done in the United States. Leather Collodion.—Mr. Arthur Taylor recently called I our attention to the fact that M. Schonbein, when he visited I this country shortly after his discovery of gun-cotton, exhibited I some examples of what he termed ‘‘malleable glass,” which resembled the pellicles recently introduced to photographers under various names, such as “ leather collodion,” “ vitrified india-rubber sheet,” &c., with the difference that whilst quite colourless, transparent, and flexible, they were thicker than the modern pellicles. These were supposed to be products of his new discovery, but their composition was not explained ; there can be little doubt that they consisted really of thick collodion films, but whether the collodion had received any addition— such as castor oil—now common, or whether they were formed from a simple ethereal solution of gun-cotton, we have no means of judging. The Progress of Pictorial Art.—The l^aily Telegraph says :—“ Our whole social life has become, through the develop- . ment of art, much more pictorial than it was. Thirty years ago none but rich men had family pictures; now there is hardly a servant girl that has not a portrait gallery packed up in her box : her mother, her sister, her sweetheart, her cousin at sea, her friend, her former mistress, or the baby she nursed, are there, in photographs, to give her vivid memories and brighten up exile or loneliness. Our illustrated contem poraries report events in pictures. Sketches in ‘ Punch ’ or photographs make us familiar with every line of the faces of our eminent men. Carlyle often laments that there are so few good portraits of the great men of old ; but a similar complaint cannot be made by the generation that will follow us to criticise our doings and estimate our work. Is all this wrong ? We do not believe it.” Permanency of Collodion Films.—A correspondent says : “ About eight years ago I coloured some cards in powder colours by Mansion’s method, and instead of varnish I poured over them some plain collodion. They have been exposed to damp, heat, and sun, and not a single film of collodion has ever been affected in any way, so that I believe a collodion film as per manent a material as possible to be for photographs. The col lodion film in a .spongy state, as it is as an unvarnished negative, when it can easily be rubbed off with the finger, is another matter altogether.” Varnishing Albuminized Prints.—A correspondent says: “ 1 find by ten years’ experience of varnish, and also collodion, upon albuminized prints, that neither the one Hg the other will prevent them from turning yellow.” The Coming Solar Eclipse.—We learn from our friend and collaborateur. Dr. Vogel, that he proceeds next month to Arabia, as one of a commission sent out by the Prussian Govern ment to photograph the coming solar eclipse. The Phenomena of Light.—A number of experiments, as illustrating the phenomena of light, are described in an American contemporary, by Professor Henry Morton. The
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