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The photographic news
- Bandzählung
- 6.1862
- Erscheinungsdatum
- 1862
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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. 189, April 17, 1862
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Zeitschrift
The photographic news
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Band 6.1862
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- Register Index 619
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Band 6.1862
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as allied to painting, awakened a spirit of enterprise which speedily created a new and very flourishing branch of trade.* Now, if the most important element of this branch of trade is, as appears probable, about to pass into the grasp of pho tography, it is of absolute national importance that so valuable a department should be properly cared for, culti vated and encouraged. The difference between exporting and importing the productions of any art is the difference between wealth and poverty for its professors—the difference between ignoble obscurity and honourable eminence for the art. Remembering this, it surely becomes members of a Society like our own to give such department careful study, and its process their full share of culture. If “ the highest value of the arts of design consists ” (as was said by one of our recognised authorities on the adminis trative economy of the fine arts) “ not in their power to minister to the luxury and splendour of the few, but in their eminent capability to promote the fitting culture and education of all,” then may photography fairly lay claim to such value. Indeed, in the mere act by which the Art and Science Department of the South Kensington Museum re solved, in 1858, to publish at cost price photographic re productions of works by eminent masters, the claim of photo graphy to such distinction was publicly recognised and acknowledged. In the face of such facts as these, then, it seems difficult to understand why Her Majesty’s Commis sioners for the International Exhibition could have evinced so little policy, foresight, or common sense as they did in classifying the tools of the art and its productions as the re sult of equal skill and intelligence. If only in this one of its very numerous and valuable applications, the art had the very strongest claims to receive at their hands a more than common share of honour and encouragement, instead of this act of injustice and discouragement. For these reasons, therefore, I bring my subject unhesitatingly before you this evening, trusting that both upon this and upon future occa sions it may recei ve from us that meed of interest and re search to which it has so paramount a claim. For myself, as I have no new facts to advance, no scientific experiments to chronicle, no very great experience to speak about, some apology may be due, which I now duly proffer. My further remarks will be chiefly devoted to a few practical hints, rather intended to elicit in discussion more valuable con clusions and opinions than to stand upon their own conse quence. There is one circumstance of some significance, however, which I may mention before proceeding. In the last French Exposition of Photography there were nearly two hundred specimens of reproductions of drawings and paintings by celebrated masters : in the London Exhibition there were, perhaps, not a dozen. I shall first speak— Or Copying Engravings. Choice rare prints arc costly things, and their reproduc tion, as a commercial speculation, would doubtless frequently prove very remunerative. But the cost of copying and re producing by engraving such works, say, as Marc Antonio’s “ Adam and Eve,” which sold for 150 guineas, or the cele brated sabre portrait of Rembrandt, which fetched £600, would be so serious a consideration as to be unworthy of any enterprising print publisher’s attention ; and thus many an invaluable work of art passes secretly out of existence. Aided by the camera this no longer need be the case, as few or many copies may be reproduced at an expense fairly pro portioned to the number required. These old engravings are frequently so stained and discoloured as to render their copying a matter of no small difficulty ; it may, therefore, be serviceable if I give a method, which will be found most effectual and easy, which restores the whites, and the clear ness, sharpness, and strength of the lines. It is simply taking equal portions by weight of strong muriatic acid and * Alderman Boydell—once the poor engraver, afterwards as a follower in the steps of Hogarth, the great print publisher—being at the Royal Academy dinner, his health was drunk by Sir Joshua Reynolds, at the suggestion of Burke, as " the commercial Mcenas of England.” 186 [April 17, 1862. THE PHOTOGRAPHIC NEWS. water, and adding three parts of this to one of the red.oxil of lead. The discoloured prints are then steeped in this anl taken out when restored. In copying from a flat surface the question of focus • very much simplified; but, as with a good lens the engraf I ing is apt to appear tolerably sharp on the ground-glas when the perfection of sharpness is not yet reached, on ought not to be too easily satisfied. The collodion shouli give good intensity and not be too new : a slight addition of free iodine secures transparency in the blacks. I prefet copying in direct sunlight, and developing with a weak iron developer (iron eight grains, acetic acid twenty minims), no too new, intensifying afterwards with pyro and silver. The collodion, although it should not be in what would be callel its best state (for portraits or views), should record the mos delicate lines witli great clearness and precision. Of coues over-exposure, over-development, and everything which tend to mar the perfect transparency of the blacks, or destroy th more refined details of the graver, must be avoided — pur white and clear blacks being the elements of success. (' feel ashamed to mention these simple things here, althoug . they may be useful in some quarters, perhaps.) When tl destruction of the print is of small consequence, and tl margin is very much torn, stained, or discoloured, this ws! of course be cut away and the print be placed against । piece of white board or paper for copying. In selecting* print for copying we should remember that there is a va difference between a really good proof and those feebl' chalky impressions from worn out plates which are to V found in the shops of cheap printsellers. But copying engravings is a very simple matter compan with the Copying of Paintings. evening’s meeting—m Here more real and tangible difficulties meet us—difficult^ which in theory look so truly formidable that one can on wonder when in practice they are so gloriously overcon’ The amazing success with which Mr. Thurston Thompsd” has reproduced the wonderful creations of Turner’s genius! the specimens before us, must convince us that such di culties only exist to be conquered. But the victory is n‘ always easily won. It is only after long experience an’ many experiments in photographing the more diftictl paintings we succeed in making every step in the proces’ triumph over some enemy or another, until the end is gaip® —getting over this in the exposure, mastering that in t development, securing something else in the intensifyinl and managing other points in the printing, so as eventuall to secure what, after all, some worthy gentleman amatetl who has just mastered a shilling manual, and taken fourth “ picture ” from nature, will perhaps sneeringly d nounce as only a copy. Knowing that the bromides 2 more sensitive to the colours called non-actinic, and t iodides to those of the other end of the scale, it at o0‘ strikes us that the judicious combination of both, with 11 , ference to the warm or cold characteristics of the paintiol is the most hopeful thing for success. In a general way™ bromised collodion will give the most satisfactory results' And here I must pause. The simple fact is that I 8 now only just time to laydown my pen and start for t. ly paper, in consequence of the 400 mulating business of the Society’s Exhibition, having be delayed until there was not sufficient time remaining for ‘ conclusion. I must therefore beg your pardon, and come once to a few experiments made to test the power of cert, combinations of the iodides and bromides in rendering 0 tain coloured diagrams. I took a sample of collodion and bottled off twelve sef rate ounces in twelve small bottles. No. 1 contained 3 grains of bromide of cadmium and two and a-half graing iodide of ammonium. No. 2 contained five grains of n mide of ammonium. No. 3 five grains of bromide of C mium and two grains of iodide of potassium. No. 46 tained as much of the iodide of potassium as it would V up. No. 5 contained five grains of iodide of amnion 11 < Apr: No. G t as muc No. 7 ( bromid the iod bromid as woul the iodi of amm grains, and br< of brom of cadn grains i Desir samples colouret intensif twelve 1 In ci future t urgent, attentio ter. I fonndat than m boasted Thar subject The pri subject of the a began t will ren taneous the clou session • Unites i date, of instants in fact, chance howeve systems and con Very experin bility, a added 1 Nly uba The pre ne exci which 1 landsca trial, w either c extrane and ths Were bi condit i Good as neai pyrogal the un The sa: a good compar of iodil an imn tated < althoug far the
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