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
• Rechtehinweis: Public Domain Mark 1.0
• URN: urn:nbn:de:bsz:14-db-id1780948042-186200003
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• OAI: oai:de:slub-dresden:db:id-1780948042-18620000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Bemerkung: Seite 1-72 fehlen in der Vorlage. Vorlagebedingter Textverlust.
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

278 THE PHOTOGRAPHIC NEWS. [JUNE 13,1862 ■ Passing from the portraiture, we come to a screen covered with the well-known pictures of Francis Bedford. Most of these are very familiar; hut from their real excellence they always seem to possess the charm of freshness. The inte- riors have unquestionably never been surpassed. Mr. E. C. Buxton contributes a frame containing shipping, genre studies, &c. “The Pickle” yacht, on one of the Scottish lochs, is a very good picture. Messi’s. Jackson, Brothers, of Jumbo, near Manchester, contribute a series of their charm ing studies of rustic grouping and scenery. We have more than once on former occasions referred to these pictures, which are, of their kind, amongst the very finest which have been produced by our art. The subjects are for the most part familiar and accessible to every one; but by careful and judicious selection of position and lighting, we have pictures such as would have delighted Gainsborough. We especially commend these pictures to the attention of those visiting the Exhibition. Four fine instantaneous pictures, two of which are glass positives, are contributed by Mr. Kibble, of Glasgow. They are chiefly studies of clouds, with sufficient of foreground and water to give force and effect to the compositions. The bank of clouds in one of the glass positives is wonderfully beautiful, and will repay careful examination. Two frames of Mr. Blanchard’s instantaneous stereographs, consisting of marine subjects and London street scenes, are contributed by Smyth and Blanchard ; we have before noticed the beauties of many of these slides. Mr. Lennie, of Edinburgh, contri butes a frame of similar pictures to those of Mr. Blanchard, some of which possess merit. Mr. Lyndon Smith contributes some specimens, which are unworthy of his power’s. Mr. S. Thompson contributes some of his series published as “Cabinet Photographs,” which we have noticed before. His “ Tomb of Edward the Black Prince ” is, perhaps, the best exhibited, and is a really fine picture, free from the flatness and imperfect lighting which characterises some of his photographs. Mr. Morgan, of Bristol, exhibits some very fine landscapes, at once forcible and deli cate. Mr. Ernest Edwards sends some exceedingly fine pictures, of which we may mention one of King’s College Cambridge, and another of Netley Abbey, as especially fine and worthy of attention. We shall resume our notice next week. HOT DEVELOPMENT FOR TANNIN PLATES. We have recently received a letter from Lieut.-Col. Stuart Wortley, in which he details his experience as to the great advantage of heat in development. It will be seen from the extracts which follow that not only is the exposure less, but in some cases the negative is of a better character than could have been obtained even by a prolonged exposure. Colonel Wortley says :— “ I have found in one of the last numbers of the News which heat I have never yet gone. “ I use no preliminary coating under the collodion,yet® of sixteen plates, 12 by 10, brought home and developeda an excursion some short time since, not one of the films sho’® any tendency to leave the plate under the influence of hot water, and I only lost one of the number, which, be an interior, and requiring a very long development, crae“ across the plate during the final application of pyrog and silver; and, as I have frequently noticed this efiedt films during a prolonged pyro development, this loss caw” be laid to the charge of the hot water. “ The one thing to be avoided in working this over exposure and too hot water together. In a case of “ kind the picture appears rapidly, very red and weak • detail coming out at once, and the silver added dep0 itself at once on the shadows as much as on the lights" the result is a negative deficient in contrast, though ful3 detail in even the darkest shadows. I have seen complak of fog and stains on negatives developed by this process, a first 1 believe to arise solely from the want of sufficient^ in the bath or developer, and the second from insuftic washing after removal from the nitrate bath. “In my own practice, I have found that with a b made of pure neutral (or, indeed, slightly alkaline) ni of silver, 1} minim of pure nitric acid to the ounce of S3 tion has not been too much to secure clear plates. And j my developer, I use citric acid in the proportion of fto” to 6 parts to 1 part of silver. “ With regard to the washing of the plate after from the nitrate bath, I can only say that it ms "I thoroughly done, and it is impossible to do it too much- I my own practice I have six horizontal baths full of " and as the plates leave the nitrate bath, they go frorWI to the other, and then when the six are out of the bath.l go one by one under the tap, and then are covered " tannin. The three first baths contain distilled water, 8% | invariably find, that after preparing 15 or 20 plates, 1 | is no appreciable amount of silver in the fourth bath, 8 feel sure that the soaking of the film (face downwards) ® j I six baths is a far more certain mode of removing the free B' v than mere washing under a tap, which might, I sholl inclined to think, leave sufficient nitrate of silver entaDs in the pores of the film to produce stains in the det ment; and in the case of careless washing, the silver " accumulate in one of the corners, and the stain would the value of the process lies entirely in the adaptation oft heat of the water to the amount of exposure given totherlas I find by repeated experiment that if I expose one plate S minutes and another twelve minutes, by heating the fors with water at 180° and the latter with vater at 100°, Iott. as nearly as possible the same negative, but I should be! dined to give a slight preference to the former. Accordin to my subject, and to the exposure that I have given, Ivas the temperature of the water from 80° up to 200°, beyond that you have taken sufficient interest in the hot develop ment of tannin plates to induce you to devote a leading article to the subject. As I have worked the process through the past winter on 12 by 10 plates, my experience may perhaps be of some use to yourself or your readers. I was first led to use warm water (80°) by finding that the use of cold water to wet the plates previous to development, unless con tinued for an inconvenient length of time, had a tendency to leave the tannin solution not evenly dissolved on the plate, producing marks on the sky during development. When Dr. Draper’s process appeared I increased the heat of the water, with the decided advantage not only of shortening the exposure, but of obtaining a detail and intensity in the case of very dark shadows and insufficiently lighted objects, and which, working with lenses covering my plates properly, I had before found the tannin process inadequate to, even with a prolonged exposure. “ I have seen several letters and remarks in the different journals on hot water development, but with few exceptions no allusions to the temperature of the water. In my opinion mence from there. r “ I do not use alcohol in the tannin solution, as 1 found it apt to cause marks to appear in the film, as l resinous substance in tannin did not dissolve thoroue remaining in undissolved lumps in various places. v “ After what has been written in America, about th. stantaneous results obtainable on tannin plates wite water, I have felt surprised, that in my experience, tbde still a very wide difference between the exposure ) for wet collodion, and for the same collodion 5 prepared tannin. . , wd" “ I am afraid I have made this letter prolix ana 0 tercsting, but it appears from the letters I have segn i the process has been so mismanaged, that I have zhod duced to write to you rather more fully than 1 5 i? otherwise have deemed necessary. I hope on mytdf show you my results, and we can discuss the su J greater length.” . mo On the subject of intensifying, our correspondem some remarks which may be found useful.