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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. 195, May 30, 1862
- Digitalisat
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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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1861 1 effect v ad knod ww a det , redudn enby} per. T nds at convert al comv was ma . not ge zed pap from fit' Iver pd i negatin velopm® zontains Amat® de Sodit ESS. w in t ho attaiz id an d I reactis is used 11 develop I, to ma intensiti nore th irofof have t ce I pi*’’ t, filter^ markab! hard's C soluble: so io Y he iodi resulti" in lithi ly er I .nd ho’ tivene, ocess, would! morpb moipl‘ ne 300, la intol onto 1 ’; i witb®? ilution e or silv ht, 1 LOME" curred ! io tan! keep'* May 30, 1862.] THE PHOTOGRAPHIC NEWS. 263 NITRATE OF MORPHINE DRY PROCESS. Dear Sir,—There arc one or two errors apparent in my letter of the 16th inst., due, I fear, to the illegibility of my writing, which I beg leave to correct in your next number. After "guard" insert "u'ould" in the ninth line from the commencement; and instead of “morphine" in the sixth line of the following page, read “ liberated nitric acid.” I may add that in making my experiments I employed three different kinds of collodion—Keene’s, for the Fother gill process; Thomas’s “portrait,” diluted with washed ether and absolute alcohol; and some made by myself with mixed acid at a high temperature. The little difference, if any, in the results, pointed to the superiority of Keene’s— which, in my hands has always proved immeasurably the best for the Fothergill (my favourite) process, and equal to any that I have ever tried for dry processes generally. Since my last communication, I have tried other experi ments with a nitrate of morphine bath, freshly prepared with pure unfused nitrate of silver; and I am happy to in form you that my opinion as to the high importance of Mr. Bartholomew's discovery is fully confirmed by all that I have accomplished. For printing transparencies on glass, this process answers admirably.—I am, sir, faithfully yours, William Law. iiartton Rectory, Rugby, May 24, 18G2. Sir,—Acting upon the suggestion of Mr. Bartholomew, I took an ounce of bromo-iodized collodion, added thereto a } of a grain of muriate of morphine, and prepared a couple of experimental plates for the dry process. I exposed one of these dry plates for 30 seconds (view lens 11 inches focus), against a sun-lighted view, at 6 o’clock in the evening, and obtained a very fair negative, the dense foliage, however, being rather under-exposed. The second plate I kept 10 days, and then exposed for one minute to ‘‘he same view, at 1 o’clock, the sun shining brilliantly. Upon development I obtained only the tops of some trees. As these plates were prepared under precisely similar con ditions it would appear that some great loss of sensitiveness must have taken place. I know that Mr. B. prefers the addition of the morphine to the bath, but Mr. Law' truly observes, “ the introduction of organic matter into the nitrate bath is one of those things hich photographers are most anxious to eschew.”—I am, ir, your obedient seiwant, F. M. Y. London, May 26, 1862. PRINTING AND TONING. Dear Sir,—In compliance with your request, I have Ereat pleasure in forwarding you the details oi my printing Process, but must first remark that I have really no secret to divulge. The great “ seci’et of success ” is extreme care in all the operations, and to this I attribute the tones 1 produce in my prints. In the first place, I never allow the strength of my silver to get below 80 grains. The prints are well washed in several changes of water, for at least half an hour. (In cold weather I use warm water). The toning bath contains, to 8 ounces of water, 1 grain of gold, and 5 grains carbonate of soda. Wash thoroughly, and fix in fresh hypo, 1 ounce to 5 of water. I have some hundreds of prints, and assure you I cannot find one mealy, or showing the least symptoms of “ yellow fever.” I may add, that unless great care is taken in the first washing, the resulting proofs are certain to dry a dingy brown colour.—I remain, dear sir, yours very truly, John H. Underwood. Beech Collage, Sale Green, Cheshire, May 20th. 1862. [Our correspondent’s prints, as we have recently had occasion to remark, are amongst the richest and most per fect in tone we have seen. Although, as he states, he has no secret to communicate, we always think it of interest to put upon record the process by which the best results arc obtained, and especially so in regard to subjects on which troubles are common, and opinions diversified.—Ed.] INSTANTANEOUS DRY PLATES. Dear Sir,—Being on an extensive photographic tour, far away from the smoke and soot of busy Manchester, obtain ing views in England, Scotland, and Ireland, for the pur pose of illustrating a new work, I had occasion, when at Glasgow, to go down the river for a view of old Dumbarton Rocks and Castle; whilst operating there I had the pleasure of meeting Mr. Charles L. Floyd, of Birmingham, who, to my great surprise, was taking instantaneous views on dry plates, with Dallmeyer’s triple lens. 1 have had a very large experience in dry plates, but with every system I have used a tedious exposure was necessary. Mr. Floyd was kind enough to send me a print from one of his negatives, which gave the curl on the water, and a steam-boat sailing beautifully. Now, as he appears to be very obliging and gentlemanly, perhaps, if he is asked courteously through your columns, he may be kind enough to give his modus operandi to the profession, by whom, I am sure, it would be considered a great boon, and by none more so than—Your most obedient, John H. Taylor. Belfast, May 20th. [It is scarcely necessary for us to say that we shall receive and publish with pleasure any communication from Mr. Floyd on this interesting and important subject. Dry plates which give instantaneous effects with a lens of long focus and small aperture, like the triple, must unquestionably be as rapid as wet collodion in its most sensitive condition. We shall feel anxious to learn more on the subject.—Ed.] Keeping Solutions of Tannin.—Tannin solution some times becomes mouldy if kept, particularly when the alcohol has been nearly removed by evaporation from frequent use. A drop of oil of cloves in each bottle entirely prevents this ten dency, and does not seem to produce any injurious effect, unless undissolved globules of the oil are poured upon the film. All chance of such globules may be avoided by allow ing the oil to remain at the bottom of the bottle, which is never to be quite emptied, and by taking care not to apply the solution to the sensitive surface without previous filtration. Undissolved globules of oil, if poured on with the solution, will adhere to the film, and produce transparent spots of in- sensitiveness. A quantity of strong solution of tannin, which became very mouldy about four years ago, and to which oil of cloves was then added, settled quite clear, and has remained in the same state ever since, and, although dark in colour, gives as good results as the freshly prepared solution.—Major Russell’s Tannin Process. Photographic Society.—At the meeting of the Photogra phic Society, to bo held on Tuesday evening next, Mr. Clau- dett will read communications on the following subjects:— 1. Enlargement of photographs by tracing the image of a nega tive on any surface upon which it may be thrown, in the camera, by the sunlight, or artificial light. 2. Rule for finding at once the degree of amplification produced by any distance of image, and also, from the size of the negative, having determined how much its image is to be enlarged, to know the distance at which both the negative and the screen must be placed on each side of the object-glass. 3. New mechanical diaphragm, per manently fixed between the two lenses of a double achromatic combination, which, by a rapid expansion and contraction, being capable of opening and shutting the whole aperture, can pro duce any degree of aperture required, oven while the operation is going on. •
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