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1,1862. own,probab of shellacs Ve aregtad" fled with . Thesma-" h asno ' thegd on and Se e arc siz3 ether wit j curves, not prob, rked 50“ : of order, or not P tting!02e changes . cipitatd X m reg PxorOGS used byz bnt we C3, ormula" sisNe e. Thefy sily retga eforede,g opin' 00 j* Vehat” 1 so reCgzf plates tanning ,2 hriga n, ie a- a e eq22 ' K A' natioo’ rat0" tore Ada ards"; front "a ish, “"a trank53 ill me, muble "9 d 55 se sarati0J rith the a’ w X » r w will" y ontbe” 1834 I PT THE PHOTOGRAPHIC NEWS. Vol. VI. No. 200.—July 4, 1862. FADING OF POSITIVE PRINTS. Tire dampness of the walls at the International Exhibition, minous as it is to the beauty of many of the photographs, mortifying, as it must be, to many of their exhibitors, need M be regarded as an unmitigated evil, and may possibly become auxiliary to a valuable lesson. The fading of posi tive prints has, we are happy to believe, become during the last few years much less common ; it has certainly excited ess attention and discussion, has been less prominently Wore the eyes of the photographic world than a few years 480. We believe there is no question as to the fact that tince the introduction of the alkaline or neutral gold toning Wem, fading has been much less common than it used to The damp walls of the Photographic Department of the wilding at South Kensington bring before us, however, in * startling manner, the fact that permanence is not the in- triable rule even in the productions of first-rate photo- 2raphers. Every visit convinces us more painfully of this fact. We see the productions of men standing high both in the professional and amateur ranks, showing the incipient °rfhe advanced stages of decay in the yellow “cheesy” colour of the lights. That at least fair and ordinary care in Carrying out of their respective processes has been used, may fairly be assumed in regard to the works of such men as Judd, Robinson, Wardley, Watkins, Verschoyle, Colonel Stuart Wortley, Lord Caithness, and others of high reputa- tion. The question then arises, if the process were properly Worked, and ordinary care taken, which process was used ? Are these, or any of them, the result of the old hypo toning System, or are they the produce of gold toning? Were they fixed in fresh hypo, or old hypo ? What method of Vashing was used, or what means were taken to secure efficiency? Were any tests ever used, and what were they? It is quite possible that these prints, or many of them, ight have remained for years without exhibiting the same "gns of decay which arc now most evident; the damp of J 'vails is something worse than would be readily believed; '’'card-board at the back of mounts, we are told, is in instances absolutely in the condition of pulp. What Wous exhalations may be emitted by the bricks and "ortar, and plaster, we cannot pretend to say, but it is by 19 means improbable that these may be injurious. Not- zithstanding all this, however, some of the prints placed in he same condition show no sign of decomposition what- fVer, but retain their primitive purity. It becomes interest- 8 to know, also, under what treatment these were pro- 'meed. Some of the best of them, we know, have been oned in an alkaline gold solution, fixed in fresh hypo, and 'cry carefully washed. The question arises, have any of 'ose which are permanent been produced under the old 8stem, and if so, with what precautions ? That prints toned in the old hypo and gold toning bath Were not unfrequently permanent, cannot be denied. We a 'c prints produced nine or ten years ago which arc yet '"changed. Most old photographers can offer similar evi- b n \r W 0 recently inspected a frame of specimens shown y lr. T R. Williams, at the first exhibition of the Photo- naphic Society, some nine years ago, which were intended to "s rate the effect of leaving the print in the old bath of inPOan i gold for different periods. The first specimen was thirH rr° r five minutes, the second for ten minutes, the 1 or fifteen minutes, and so on, increasing the time five minutes with each example. The number of prints was about two dozen, so that the last print would be immersed for two hours. These prints were washed with the ordinary care, customary to a careful operator, and although nine years have elapsed since they were produced, the majority of them are at the present moment entirely unchanged. The last few prints showed unmistakeable evidence of the action of sulphur at the time, and it is difficult to say, therefore, whether they have gone further or not. All the earlier prints are, however, good in tone, and at present quite per manent. The system was, however, there can be no question, an uncertain one; and we by no means recommend a return to it. Notwithstanding the result of the specimens in question, Mr. Williams has long since abandoned the old bath for the more certain, philosophical, and trustworthy, alkaline gold toning solution, and fresh hypo fixing solu tion. We do not intend here to enter into the question as to the causes which may have been in operation, to induce the fading of the prints now in the Exhibition, but rather to call attention to the subject, and the important considerations involved. No subject of greater importance to photography and photographers can be conceived. The permanence of its productions is unquestionably the consideration of all others, upon which the value of the art most depends. It is very desirable then, as this mortifying reminder of the instability of photographic .prints, under certain conditions, has been thrust upon our attention, that some valuable use should be made of it. It may be regarded as a test upon a grand scale, and under the most trying conditions, of the value of various printing processes, or modes of working them. We would strongly urge upon those gentlemen whose pictures have become yellow, or are otherwise decomposed, to place upon record the details of their printing operations ; so that the cause of decay may, if possible, be detected and published. The proximate cause is, doubtless, the damp to which they have been subjected, but we want to trace the ultimate cause in the method employed, which left in them the elements of decomposition. Accounts of the method of producing those which, subjected to the damp, have entirely withstood its influence are also desirable. We shall have pleasure in receiving and publishing communications on cither subject. Or, we would suggest that no more interest ing and important topic could engage the attention of the first meeting of the Photographic Society after the summer recess, and that if the gentlemen concerned furnish the necessary information, a discussion might ensue which would possess more interest and importance than any which has for a long time been held. CIRCULAR PANORAMIC PICTURES. As our readers are aware, we have always felt considerable interest in the panoramic lens and in any development of its powers, as, indeed, of any lens which, by including a wide angle of view, has contributed to the pictorial advantage of photographers. We extract the following article from a recent number of the Photographic Notes, rather as an illus tration of the ingenious method by which difficulties may be met, than from any strong conviction that it will come into practice. Our friend, Sutton, some time ago com plained of our referring to him as an enthusiast, and emphatically proclaimed the matter-of-fact caution which governed his ideas. We think that those who read the following article will scarcely wonder at our reference to bis
