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The photographic news
- Bandzählung
- 12.1868
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- Bandzählung
- No. 516, July 24, 1868
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The photographic news
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Band 12.1868
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THE PHOTOGRAPHIC NEWS. Von. XII. No. 516.—July 24,1868. CONTENTS. PAGE Toning Collodion Prints 349 Photography and the Abyssinian Expedition 320 Photography in Germany. By Dr. II. Vogel 351 Washing Machines : the Eccentricities of a Syphon. By Nelson K. 352 P ctorial Effect in Photography. By II. P. Robinson 353 Photo-zincography ia Practice. By J. Waterhouse, It. A 354 PAGE The Wet Collodion Process. By C. Sternberg 356 Causes of Fogging. By Jabez Hughes 357 Correspondence—Informers and Piracy—Graves v. Mercer ... 358 Talk in the Studio • 359 To Correspondents 360 Registration of Photographs 360 TONING COLLODION PRINTS. The prevailing defect of the various examples of developed prints on a collodion film which come under our attention is a want of warmth and depth in the tones. Brown tints are rarely obtained, and, when secured, they generally lack richness and intensity. The prevailing tint is a greyish or bluish black, cold, and wanting in depth and force. We have more than once recently described the various modes of toning collodion prints, and the peculiar tints produced by different treatment, and it is unnecessary, therefore, again to discuss here the details of each method. We have, however, a hint to offer in reference to one of the methods, the conditions of success in which are not gene rally well understood. Perhaps no tone more perfectly suits the peculiar cha racter of the developed collodion print, whether it be used for enlargements or small pictures, than a rich black, either quite neutral or inclining to warmth. The tone obtained by treating the image first with bichloride of mercury and then with hyposulphite of soda is black, but it is generally a cold or greyish black, not perfectly satisfactory. The tone obtained by the use of a gold salt is generally black, but it too frequently inclines to a blue black, which is not more satisfactory than the grey black of the mercury salt. We have recently been favoured by Mr. Burgess, of Norwich, with a sight of some examples of his Eburneum process, in which the picture is produced, as our readers know, by collodion printing in the camera. The tone in these specimens was of a singularly fine black, without a trace of blue, resembling the colour of a good engraving. In answer to our enquiries as to the mode of producing this tone, we learnt that gold was the colouring agent, hut that success in securing the right tint was dependent upon some other conditions worth noting. To produce the finest tone in Eburneum prints, and, of course, in all developed prints on collodion, a good nega tive, good light, a suitable developer, and gold solution of suitable strength are necessary, ami it is difficult to pro duce a good black tone if any one of these elements of suc cess is wanting. The negative need not be very dense, but it must have well-marked gradations, and must not be fogged; it must be clean and bright in the shadows. It is assumed, of course, that the collodion and nitrate bath are in good condition, and we need not here dwell on these. The quality of the light is too little considered in the pro duction of collodion prints. It is assumed that a dull light, in which other work would be impossible, may be used for collodion printing, a little longer exposure being quite sufficient to compensate for a little worse light. Mr. Burgess, whose opinion is valuable, not simply because his experience in this direction has been large, but also because his taste is cultivated and fastidious, states that he finds it impossible to get fine collodion prints, which will receive a rich tone, in a bad light. In this, as in many other photographic processes, protracted exposure does not quite compensate for lack of intensity in the light. After careful testing and comparison of the iron and pyro developers, Mr. Burgess has given the preference to the latter for producing these prints. The formula which gives best results is as follows :— Pyrogallic acid ... ‘ 3 grains Citric acid ... ... ... ... 3 „ Water 1 ounce Alcohol ... ... ... ... quantum suff. The exposure should be sufficiently full to enable the image to flash out on the application of this developer without much forcing. Experience alone can guide the operator to what exent the process of development should be carried to secure a tolerably dense reduction in the blacks of the image without getting any trace of reduction on the points of high light. Mr. Burgess fixes with cyanide, and, after washing well, proceeds to tone with a neutral solution of gold, to which no addition of any kind has been made. When all other conditions have been satisfactorily secured, the use of a strong gold solution completes the success, much greater richness being secured than with a weak solu tion. Mr. Burgess sometimes uses a solution containing a grain of chloride of gold to a drachm of water; but his more usual strength is a grain of the gold salt in from 1 to 2 ounces of water. The time required for toning with a good collodion print and strong gold solution some times does not exceed two or three minutes, but generally requires from five to fifteen minutes. The operation is completed, of course, when the black tone is seen through the glass at the back of the print. As we have remarked, the question of toning is equally important in regard to all the purposes for which developed collodion prints are required. But we cannot forbear, in conclusion, expressing our surprise that a process so simple in its manipulations and so beautiful in its results should receive so little attention amongst portraitists generally. Mr. Burgess gave his process, through our columns, freely to photographers, furnishing full information as to its manipulations throughout. Some of our readers have, from time to time, sent us fine examples of the process, worked according to instructions; but the commercial utilization of the process has not, we think, been at all commensurate with the merit of the process, or with the probable profits it would return.
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