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The photographic news
- Bandzählung
- 12.1868
- Erscheinungsdatum
- 1868
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- Englisch
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 523, September 11, 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 12.1868
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THE PHOTOGRAPHIC NEWS. Voz. XII. No. 523.—September 11,1868. CONTENTS. PAGE Encaustic Pastes : M. Adam Salomon’s Formula 433 Uranium and Nickel Printing Process 434 Echoes of the Month. By an Old Photographer 434 Foreign Miscellanea 436 Method of Obtaining Intense Negatives 436 Practical Hints in Operating. By Fritz; Haugk 436 Pictorial Effect in Photography. By H. P. Robinson 437 On the Employment of Blue Glass in Photographic Studios. By M. Alois Nigg 439 Bel Clement 439 PAGE Phosphorescent Photographs 440 Communications on Photography. By M. Carey Lea 441 On the Preparation of Iodic Acid and Iodate of Potassium. By Professor J. 8. Stas 441 Con-Elliptical Vignette. By Professor Towler, M.D 442 On Pure White Gutta-Percha 442 Talk in the Studio — 443 To Correspondents 443 Photographs Registered 444 ENCAUSTIC PASTES.—M. ADAM-SALOMON’S FORMULA. The value of an encaustic paste in improving the effect of photographic prints is becoming very generally recog nized amongst photographers. A good encaustic confers three special benefits on the print: it gives depth, richness, and transparency to the deep shadows; it renders apparent delicate detail in the lights which would otherwise remain imperceptible; and it aids in protecting the surface, and so tends to permanency. The first and last of these three advantages are generally appreciated, but it is not so well known—or, at least, we be lieve that it has not been so specially noted—that the appli cation of a wax or of an encaustic preparation practically brings out minute detail not before apparent. But on careful observation it will be found that this is so. A fami liar and palpable illustration of the kind of effect produced is furnished by the process of varnishing or French polishing a piece of fine-grained wood. When its surface is rough the character of its graining is scarcely perceptible, but is rendered partially visible by planing, scraping, or rubbing smooth. However perfectly smooth it may be made, how ever, much of the most delicate part of the grain remains invisible until it is polished or varnished, giving it a slightly diaphanous surface. So it is with the photographic print. Photographers know that when it is rolled, and so made smooth, the definition and detail look finer than they did before. But the effect of an encaustic paste is to make detail bear out which was not seen before. The delicate pearly gradations which surround the high lights, which were buried in the texture of the paper, are, when the surface is made diaphanous, perfectly visible, and the bringing out of such gradation has the effect of giving a singularly delicate quality of modelling, and a rare brilliancy in the lighter portions of the picture. We have heard it remarked of some photographs finished in this way, that the faces have the appearance of being modelled in white marble. This is scarcely true or good'criticism, by the way, for flesh should not look like marble. But the idea has been suggested by the diaphanous surface rendering visible a great deal of very delicate detail which gave an effect of roundness and model- ling without the aid of deep shadows, an effect very similar to that of a white marble statue, in which the diaphanous surface shows every dimple, and undulation, and gradation, which would be lost in a coarser or more perfectly opaque substance. Various formula; for the preparation of encaustic pastes nave been published, and many of them very excellent, the qualities required are, easiness of application and the capacity of giving richness and denth without too much gloss, and of yielding a hard, firm, permanent surface, he exceedingly fine surface and the great richness in the shadows of the pictures of M. Adam-Salomon naturally renders it a matter of interest to learn the especial formula of the preparation he employs in finishing his prints. On his recent visit to London, in answer to inquiry, he gave us, from memory, the recipe, stating a doubt as to its exact ness, and promising to send us the precise details of an im proved formula on his return. Experimenting with the formula he left us, we produced, by a very slight modifica tion, an encaustic paste of exceeding excellence, which gave us admirably satisfactory results. It stands as follows:— Pure white wax Crum elemi Turpentine Essential oil of lavender... Essential oil of spike ... 5 drachms ... 1 drachm ... 2 drachms ... 1 drachm ... 1 drachm. The wax is cut into shreds, and melted in a capsule over a water bath. Placing it in ajar, and the latter in a pan of hot water, will serve. Powder the elemi, and dissolve it in the turpentine and essential oils, using gentle heat. Some samples of elemi are soft and tough, and will not admit of powdering, in which case it may be roughly divided into small portions and placed in a bottle with the solvents. Elemi is generally a tough gum, of a mottled-looking, mixed character, containing a good deal of impurity. It will invariably need straining through muslin to remove impurities and insoluble matter. The clear solution is then added to the melted wax, and well stirred. It is then poured into a wide-mouthed bottle and suffered to cool. It forms a firm paste, very easy to apply, and yielding a fine, hard, rich surface. To Messrs. Robinson and Cherrill, M. Salomon stated the materials without proportions. They have favoured us with an example of a formula worked out by experiment, and with some prints treated with it. Mr. Robinson writes to the effect that the trouble they had experienced in getting good results with encaustic pastes on large pictures had induced them to give up its use; but that all difficulties seem to be removed by the preparation the formula of which we subjoin :— Pure white wax ... Gum elemi Turpentine, about Oil of spike ... 2} ounces ... 1 ounce ... 5 ounces ... 1 ounce. Mix as above, and then add 1 drachm of essence of lavender. This paste is much thinner than that made by the formula preceding it, and Messrs. Robinson and Cherrill prefer it on that account. It has the disadvantage, however, in some cases, where the surface of the paper is soft and absorbent, that it permeates the whites, and leaves a slight discoloura tion like grease, which is very slow to disappear, notwith standing that the solvents are volatile.
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