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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-Identifier
- 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.
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- Parlamentsperiode
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- Wahlperiode
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- Bandzählung
- No. 209, September 5, 1862
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- 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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- Register Index 619
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Band
Band 6.1862
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- Titel
- The photographic news
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of tha our on for ex- THE PHOTOGRAPHIC NEWS. mnably a th, or of ion of a prove a soda, or d faintly he addi- tannin nsity in akerwill . others. , require in, more n meali- i recently mmuni- ‘"Helio- No, lft to paint 0 yhicb er ast thetim th good nsity at h a sub- id then plicable when a is’ black nd then the bath •e made ave the 1 WOUld a few i. rbidity is right . is less i excess wrong, of the id first -a few i. The ition of i error, rred in ; would recipi- • of the Stiond he new loubtof • using cases tide of ives to s once o high iish is iolved. ardest inega- conse- much) luced. c bril j most erally armer es, or latter , and avoid de in ; one, lent, hout iskly y re: Vol. VI. No. 209.—September 5, 1862. PHOTOGRAPHIC PAPER. Taper is unquestionably one of the most important sub stances used by the photographer : and printing is out of all proportion the most important operation. It is, indeed, as Mr. Hughes once aptly observed, if not the be-all, at least the end-all of photography. “ All our other processes,” he remarked, “are but preparatory steps to printing.” For that we make our pyroxyline, prepare our collodion, purchase our apparatus, and rack our brains to produce perfect negatives. With this object before us we travel over land and water, climb glaciers, face water-falls, on mountain top, in sheltered valley, on open heath, in deep forest or dark glen—wherever or to whatever we point our lens, this is the consummation we have always in view—“ the reward for all our labours.” However important may be the mode of preparing paper, the proportion and age of the albumen, the quantity and base of the chloride, and the skill in albu- menizing, it is quite certain that the material, texture, and sizing of the orginal paper exercise no inconsiderable influence on all operations upon it, and on the finished result. Here is the photographer’s great difficulty, he is performing a delicate chemical operation with a substance as to the nature and preparation of which he is ignorant. He may know the formul of his albumenizer : but he knows nothing of the processes of his paper maker. He does not know what enters into the composition of the orginal pulp; he does not know with any certainty the composition of the size on the surface. What is more and worse than this, from the out-cry which has arisen of late years, it would appear that whilst everything else in connection with photography has been progressing and improving, both in apparatus and chemicals, and in the knowledge of how to use them, paper has been growing worse. At one time an impression prevailed, that the use of the alkaline gold toning processes had introduced many of these evils as some drawback to their benefit in other respects. But we have recently received several letters from printers who have been trying the old bath of hypo and gold, and have experienced similar diffi culties to those supposed to belong solely to the alkaline gold processes, thus pointing to the fact that much of the paper in the market is of unsuitable quality for giving good photographic results by any process. We believe that paper is the only material used in pho tography, at the present time, that is not manufactured with an express view to the wants of photographers. We do not mean to intimate that paper is not manufactured with a view to photographic use; but that it has been simply paper of the ordinary manufacture, selected with a surface as perfect as possible. There has never been, that we are aware of, any searching enquiry, or any carefully instituted series of experiments in the manufacture of paper, with a View to ascertain what materials, and mode of using them, Would yield the best photographic results. That such an enquiry is necessary there cannot be a doubt, and that the results would repay the effort seems very probable. Such enquiries have often been contemplated, and sometimes even promised, but there the matter has ended. We re- member that about a year and a half ago, Mr. H. G. Bohn mentioned at a meeting of the Photographic Society the name of a manufacturer whose paper he thought would meet he wants of photographers; and shortly afterwards Mr. ardwich, Mr. Sutton, and ourselves, waited upon the manu- acturer in question, to ascertain if he would enter upon a "eries of experiments, with the assistance of photographers. He furnished us with samples of the paper he thought most suitable for the purpose, but did not undertake to try expe riments. The samples he furnished proved on trial to be considerably less suited to the purpose than almost any in use. At a subsequent meeting, Mr. Bohn introduced another manufacturer, Mr. Busbridge, who expressed a deep interest in the subject, and promised to make any effort, aided by photographers, in producing a perfect paper. We were subsequently furnished with some samples of the paper he proposed for photographic use, and regret to say, that it turned out the very worst we ever printed upon. No further experiments, that we heard of, were undertaken, and so far as we know, there the matter ended. M. Ernest Lacan, editor of Le Moniteur de la PhotograpTiie, from whom we had the favour of a recent call, during a hasty visit to London, furnishes us with some information, from which we hope that photographers may anticipate that an effort is really about to be made to supply them with a paper manufactured expressly with a view to their require ments, and in which the utmost care to secure the right con ditions will be given at every stage of the operations. M. Canson, the manufacturer of a French photographic paper, which had at one time considerable reputation, but of which we have not heard much recently, has, we understand, entered into a treaty with certain gentlemen interested in photo graphy, of whom we believe M. Lacan is one, to institute a careful investigation as to the conditions required in paper for successful printing by the processes at present in use. M. Pierre Petit, one of the ablest of Parisian portraitists, has undertaken to test the samples of paper produced, and pro nounce upon their fitness for photographic purposes. We have a strong hope, from the high position of the gentlemen interested in the project, and their peculiar fitness to give it effect, that it will issue in the production of a higher class of paper, of a more definite and known composition and quality, than has before been offered to photographers. We hope shortly to be able to publish further information on the subject. CARD PORTRAITS. We have before us a large accumulation of examples of card portraiture forwarded by different readers for our examina tion and opinion. Many of these are very excellent indeed, whilst there are others to which silence is the most favour able criticism we can award. In examining the various specimens, we are struck, however, as we have been before, with the increase of many good qualities which card portraiture has rendered imperative upon photographers. The photographic qualities are better, the manipulation is more careful, and there is at least some attempt, if not always successful, at artistic arrangement. Amongst the most pleasing examples of card pictures we have seen at any time, is a series of vignetted specimens by Mr. T. B. Parkinson, an English artist residing at Dieppe. In the whole treatment there is a freshness and individual- ism, which at once; arrest attention and command interest. It is one of the singular facts about photography, and one which gives great force to its claims to recognition as a fine art, that notwithstanding the apparently mechanical cha racter of the operations, the artist does stamp his character upon his work, and just as much so in portraiture as in landscape, and other branches of photography. No one can have failed to notice that whilst all the sitters of one photo grapher may appear to be vulgar people, another artist, from
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