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The photographic news
- Bandzählung
- 6.1862
- Erscheinungsdatum
- 1862
- Sprache
- Englisch
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- F 135
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- http://digital.slub-dresden.de/id1780948042-18620000
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- Bandzählung
- No. 207, August 22, 1862
- Digitalisat
- SLUB Dresden
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- Parlamentsperiode
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- Wahlperiode
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Zeitschrift
The photographic news
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Band 6.1862
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- Ausgabe Ausgabe 73
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- Register Index 619
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Band
Band 6.1862
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August 22,1862.] THE PHOTOGRAPHIC NEWS. 405 * From a work entitled " The Card Photograph. lactic angle for this distance ; it is consequently two degrees. If, then, the inclination of the moon’s axis to its orbit be one degree and a half, or thereabouts, we shall have a libra tion in latitude of about three degrees, which is more than enough to give an agreeable relief to the super imposed pho tographs. That the stereograph of the moon, to be had of all dealers in such materials, was taken as just described is evident, in the first place, from the fact that the south pole of the moon is to the right on the cardboard, and the north to the left, or vice versa, by inverting the card on which the t»o photographs are mounted. In the second place, the difference in the distances between the corresponding points on either photograph is in the direction of north and south, and not in that of east and west; this is an infallible proof. This difference, too, between the maximum and minimum distance is of such a magnitude as to indicate the parallactic angle at which the photographs were taken.—Humphrey's Iwnal. PRINTING, TONING, FIXING, AND MOUNTING. BY CHARLES WALDACK.* The printing on albumen paper should be carried further than on the ammonia nitrate, as the prints lose more in the process of toning. The colour of the prints when taken out of the printing frame varies from a red to a violet black. This colour depends greatly on the kind of paper used; and vomewhat on the strength of the silver solution. A paper' giving dark prints is to be preferred. Red and vigorous prints can, however, be brought up in the toning. But when the prints are red and dim, the fault lies in the silver solution, which is not of the proper strength, and no toning will bring them to the proper shade. When four card negatives are made on a whole plate, the box printing-frame is the only one that can be used, as it enables you to look at each one of the negatives. If one of the negatives prints quicker than the other, it should, when efficiently printed, be covered with a piece of cardboard, and the printing allowed to go on. Several causes induce the discolouring of the albumen Paper, while printing: the principal ones are— 1. The heating of the negatives by the sun. 2, The use of moist paper. 3, The use of moist flannel, or cloth, on the back of the paper. , A The use in hot weather of flannel, or cloth, which has been in contact with ammonia nitrate paper. 5, The silvering with ammonia nitrate of silver in warm "eather. ,. The best prints are made in diffused light. To be printed 9 the sun, the negatives require to be more intense. Vig- Bettes should, as much as possible, be printed in diffused '?nt, as the paper requires to be kept very white. Rhe shading off, in vignette prints, is obtained by placing, 0 about three-fourths of an inch from the negative, a piece cardboard with an aperture in it of the shape of the pic- IIres, but cut a little smaller. When the printing is done 11 the sun, this aperture is covered with a piece of tissue Pper; in diffused light a ground glass is substituted; or, hen the light is weak, it is allowed to strike the negatives J^fly. Great care should be taken in printing vignettes, Ui have the printing-frame in such a position as to cause “srays to fall perpendicularly on the negative. k Silvered albumen paper being very sensitive, should be BP as much as possible out of the light. The prints can II Kept several hours before being toned and fixed, by being ""Sed in the dark. b . men prints should not be put in the same drawer or getswith ammonia nitrate prints; to prevent them from 0th ng brown when they come in contact with each Tl>' ifoperations which follow are— 2 The washing to remove the free nitrate of silver. 3. The washing to remove the toning solution. 4. The fixing in hyposulphite of soda. 5. The final washing to remove the hyposulphite of soda. The three first of these operations should be done in the darkest part of the room. To remove the free nitrate of silver, the prints are put in a tray with clean water, and the water is changed five or six times, until all the nitrate of silver is removed.* This being done, they are ready to be toned. For the preparation of the toning bath the two following standard solutions are used :— No. 1.—Bi-carbonate of soda ... 2 drachms Water 16 ounces. No. 2.—Chloride of gold (neutral) 30 grains Distilled water 16 ounces. The toning bath is composed of sixteen ounces of wate'a and one ounce of each of these standard solutions. In summer it is used at the ordinary temperature ; in winter, to make it more active, it is made tepid, or bloodwarm. The prints are immersed one at a time, and as many as can be conveniently watched. They pass in a few minutes through all the intermediate tints to a bluish-black. The first prints which are immersed tone rapidly ; but in proportion as the gold is taken up, the bath loses its activity : when this arrives, add one ounce more of each solution, No. 1, and No. 2. The toning is stopped by immersing the prints in a tray of clean water, kept at hand for the purpose. The real colour of the print is only seen after the fixing, and it requires considerable experience to discern to which tint the print has to be toned. A print which is undertoned assumes a red colour in the hyposulphite of soda. One overtoned gets inky blue. The toning bath should not bo too active, as the toning would proceed irregularly. Too rapid toning has also a tendency to make more apparent the mealiness spoken of below. To prevent irregular toning, the print should all the time be kept in motion. Acetate of soda, citrate of soda, phosphate of soda, &c., have been recommended by some writers as an addition to the toning bath. These seem, when fairly tested, to have no action whatever on the toning of the prints. We shall, therefore, not give the formula in which these salts enter, being satisfied that in photography, as in all pursuits, the shortest and least complicated method is the best. The toning bath given above, can compete for results with any used. The chloride of gold is what gives the tone, the bi carbonate of soda is added to facilitate the separation of the gold from the chlorine. Perhaps acetate of soda or any of the other salts used possess also a reducing action, but in connection with bi-carbonate of soda, which is much more energetic as a reducing agent, their presence is useless. Acetate of soda has been claimed by some writers to be a preventive of what is known as mealiness; experiments care fully conducted have convinced us of the fallacy of this claim. The mealiness in our opinion, results mainly from the use of a weak silver solution, or from not being floated long enough. With some kinds of thick and highly albu- menized paper, it assumes the form of white spots : with thin paper it has the form of minute, mealy specks. These spots in thick or highly albumenized paper, can, on close inspection, be detected on removal of the paper from the printing-frame, and are brought out more distinct in toning. They result, we believe, from an imperfect formation of albuminate of silver.t * The first and second changes of water, containing most of the nitrate of silver, should be poured in a large jar, or keg ; and a handful of salt thrown into it, which will precipitate the silver in the state of chloride. After settling, the liquid can be poured off, or drawn oil' with a faucet. When a sufficient quantity of chloride of silver is thus obtained, the mass can be thrown on a filter, and allowed to drain and dry ; after which it can be sent to the refiner to be converted into metallic silver. t What first made us suppose that imperfect silvering was the cause of these mealy spots, are the following facts. An inexperienced photographer undertook to silver albumenized paper, in a small quantity of solution, and not having the porcelain tray level, the upper part of the tray touched the bottom of the dish, while the lower part floated on liquid half an inch deep ; when the prints were toned, the upper ones were spotted, and the lower ones perfect. The same thing being repeated, the spots could, on close examina tion, be detected on the removal of the paper from the printing board.
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