Suche löschen...
The photographic news
- Bandzählung
- 6.1862
- Erscheinungsdatum
- 1862
- 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-id1780948042-186200003
- PURL
- http://digital.slub-dresden.de/id1780948042-18620000
- OAI
- oai:de:slub-dresden:db:id-1780948042-18620000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
- Bemerkung
- Seite 1-72 fehlen in der Vorlage. Vorlagebedingter Textverlust.
- Strukturtyp
- Band
- Parlamentsperiode
- -
- Wahlperiode
- -
- Bandzählung
- No. 194, May 23, 1862
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
- -
-
Zeitschrift
The photographic news
-
Band
Band 6.1862
-
- 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 Index 619
-
Band
Band 6.1862
-
- Titel
- The photographic news
- Autor
- Links
- Downloads
- Einzelseite als Bild herunterladen (JPG)
-
Volltext Seite (XML)
1868 lll" U nder atob comp-” ocess CES\ P 9 ^ icess. read ed. .ni< ch»< of 5 g otP ondj dwo% ^7 cfo jod' "9 iot i0• upt, tbs g} oce”zf 3 he, b® , (0 W L d mow t from pomef ious il2 icing, wouldE ons s’’ tby mt ti»* d. 8” imag‘ Iry col, lbe" quail* 1 ’ invet leof ed to j deb W east ss s e of ng * v j A rtq af‘ j Mar 23,1862.] THE PHOTOGRAPHIC NEWS. 251 viously dissolved in a little distilled water) to about 40 ounces of an old 40-grain negative bath. This, of course, led to the precipitation of chloride of silver, produced by the combination of the silver with the muriatic acid united with the morphine, which, in its turn, joined affinity with the morphine. The bath now consisted of nitric acid, in combi nation with silver and morphine, and, so far as any organic distance can approach to stability in such a union, we may, I think, assume that we have it here. I use the terra, "approach to stability" advisedly, because it is absurd to expect that, under such circumstances, the bath is not exposed to the taint of change and decomposition, at least, to a certain extent. Whether this contamination is fatal to success, and accompanied with the ruin of the bath, or whether it is unworthy of notice, compared with the advan tages it now offers, remains to be seen. 2. The bath thus prepared is passed through a filter to free it from the chloride deposit. In this condition it is highly sensitive, and if made of fused nitrate, it is, without the addition of acid, very liable to produce foggy pictures. The question is, what kind of acid should it be treated with *o remedy this tendency ? The condition of the bath in the course of a week or ten days points to nitric acid as the curative agent required. For, if the dipper be ex- Amined, it will be found covered with an exceedingly thin deposit of silver, the formation of which the nitric acid vill have a tendency to prevent, just in proportion to its excess, 3. I added a weak solution of this acid in distilled water, Intil blue test paper showed a very decided and imme- diate change of colour. In this state the bath is still CApable of imparting a high degree of sensibility to the collodion film, which is retained after unlimited washing and drying. 4 The exposure need be little more than half of that Tequired in the Fothergill process. 5. I develop with the usual 1-grain pyro developer, first moistening the plate with distilled water. 6. The result is the same with different kinds of collo- "ion, but fi] ms which are tough and contractile, are apt to save the plate after fixing. A previous coating of thin albumenous solution would be advisable. I have had some COrrespondence with Mr. Bartholomew on the subject, and lound him very communicative and obliging, and my own SPeriments lead me to the conclusion that the report of his .^overy, published in your pages a month or two ago, is dOroughly reliable, and the discovery itself is in the highest "Sree important. n#l that the bath requires is occasionally filtering, and Beenishing with fresh nitrate; it would, undoubtedly, be l^’to make it in the first instance of unfused nitrate.— "Rain, dear sir, faithfully yours, William Law. Rectory, Rugby, May 16th, 1862. 3. On finishing this operation, I coated them with a solution of gelatine, in the proportion of 1 drachm to 10 ounces of water rain-water—-boiled and filtered—the gelatine was dissolved in this water by raising it to the boiling point in a clean, new pipkin. 4. This done, I left the plates to dry spontaneously, and when quite dry, I left them for a minute or so in a solution of the best sub-carbonate of soda of commerce, and dried thorn sponta neously by leaning them against the wall of the room, the pre pared side outwards. All the operations took place in the dark room. After exposure, I developed with iron (20 grains to the oz.) and acetic acid. Not a trace of a picture appeared. I afterwards exposed one of the plates to sunlight for about two minutes, and applied developer, with scarcely the smallest darkening of the film. Again I prepared a plate in the same way, by using in all the operations rain-water boiled and filtered. I proceeded as far as the gelatine, coated as before, and then applied the alka line solution only on half the plate; neither side was at all affected by the exposure of 5 to 10 seconds. Finally, I exposed a plate after washing only, with precisely the same result—a perfectly white and unsullied film. I should tell you that the rain-wator is not such as answers perfectly well for solutions. I tested it with nitrate silver without producing any evidence of impurity. I am particularly desirous of mastering this process, and shall be much obliged by any assistance you can give me.— Yours obediently, QUSITOR. May 4th, 1862. [Our correspondent describes every step in his operations as having been apparently conducted with legitimate care, and at the first glance it would appear impossible that failure should have occurred. On a more second examination of the operations we think the source of failure becomes clear: our correspondent developed with a solution of iron and acetic acid, but without any nitrate of silver. In such case, he would not be likely to obtain an image with even much longer exposure. With pyro gallic acid, without acetic acid, an imago may be obtained in a dry plate if it contain any salt of silver capable of reduction; but in his operations, as described, a few drops of silver should be added to the developer.—Ed.] Keeping Fothergill Plates after Exposure. Dear Sir,— Your correspondent, “G. S. Penny,” on page 226, if he wishes a dry-plate process that will keep after expo sure should work the Fothergill, as plates prepared that way will keep any reasonable time between exposure and develop ment. I have developed Fothergill plates on the thirtieth day after exposure; this I did last October; they were only kept in tin-plate boxes, of course, light-tight, no extra precau tions ; two I kept for that same time in the mahogany dark slide, only to try, and they all developed as quickly, and as cleanly and free from fog as if they had been exposed and developed the same day. I am, sir, yours truly, London, May 18th, 1862. W. L. photographit Mlotes aud Quexies. Failure in the Dry Processes. mt,—I have been trying to realise the great advantages which Do 8 tresult from the method of preparing dry plates, as pro- BofC by Mr. Bartholomew, strictly according to his directions, he aras I know, but so entirely without success, that I cannot Cov thinking there must be some fallacy I am unable to dis- leavr an my mode of operation. I will, therefore, with your bev 6 ’ detail my method of proceeding as briefly as possible, and j your advice and aid in detecting my error. Coliod carefully cleansed, coated, and sensitised the plates. b thn on,P erry’s, of Sheffield, bromo-iodized, and works well also works method ’ bath 40 grains to the ounce, neutral, which in three mediately on removal from the bath I washed the plates or •'oiled waters, by placing each plate in three successive dishes locking ranzwater, and causing the water to flow over it by a "81 undulating motion for several minutes. Bromo-Iodized Collodion. Dear Sir,—I find in last week’s News, an enquiry whether my collodion contains any bromide, as a similar question has been asked on two or three occasions previously, I would state for the information of your readers that it is a bromo-iodized collodion. These remarks apply to my dry process collodion. My new wet process collodion, as will be seen on reference to your advertizing columns, is sent out cadmium iodized, cad mium bromo-iodized, and extra bromo-iodized, according to the purposes for which it is required. The bromo-iodized being for general use.—Yours, &c., Alfred Keene. Leamington, May 14th, 1862. Photographic Literature.—M. Disderi, the celebrated French photographer, has just issued an illustrated volume, entitled “ The Art of Photography,” with an introduction by Lafon de Camarsac. We notice, also, that Major Russell’s excellent little work on the tannin process has been translated into French by M. Aime Gerard.
- Aktuelle Seite (TXT)
- METS Datei (XML)
- IIIF Manifest (JSON)