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The photographic news
- Bandzählung
- 6.1862
- Erscheinungsdatum
- 1862
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- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 182, February 28, 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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104 THE PHOTOGRAPHIC NEWS. [Feb. 28,1862. * See PaOrOGRAPIIIC News, vol. v., p. 480. * Condensed from Once a Week. to publish it; but when they originate with the trade, the secret rests a long time with the discoverer; it then slowly finds its way to other establishments, and at the same time is modi fied by each; amateurs, too, learn it, and under the seal of implicit secrecy they may practice it for a long time before it becomes public property. Such is the case now with regard to printing on albumen paper. Long after my article on printing had been published in Humphrey's Journal I continued to silver my paper on a plain 80-grain solution of silver, acid with citric acid. Yet 1 heard from all quarters that some of the best work in the country was done with an ammonio-nitrate solution for albumen paper; but not one word on the subject has appeared in the Journals, until at last some English operator, who has worked in this country, goes homo and tells the editor of one of the English journals’ 1 that in America they silver albumen paper on ammonio-nitrate solution, and that they prevent the tendency to dissolve off the albumen by adding ether. The editor, commenting on it, says that he rather thinks the strength of the solution has more to do with its success than the addition of ether. Months have passed since this was pub lished, and yet no one has said in print that he used the am monio-nitrate solution. Now, for my part, I have experimented with various processes of this kind for some time past, and with great success, so that I may now say with safety that it is better and more economical than the old way of silvering. But fur ther experiments may show objections; as, for instance, I do not yet feel sure how to strengthen the bath in the best manner, not yet having had occasion to do so ; and now I do not intend to say how I use the ammonio-nitrate solution, but will wait for some one, prompted by what I have just written, to give the world his experience on this subject, and thus ventilate one of the great secrets in photography. It is one of the most interest ing subjects of scientific inquiry, the more so as the bath, though slightly alkaline, does not discolour from use ; the prints do not turn red in water, and they tone with great vigour in any of the toning solutions in general use. The chemistry of the ammonio-nitrate solution is interesting, and I hope that some of those who write for this Journal will anticipate me in making it the theme of future articles. shall I do ?” he cried in despair. When anyone says very posi tively that he has followed my directions, and yet has not arrived at the same conclusion as I should have done, is proof enough to me that he has forgotten something. So, before telling him a reason for his failure, I asked him to recite in detail his course of manipulation, which he did in this manner :— “ I first flowed my plate with collodion, then put it into the bath, and then into holder and exposed ; removed from holder in dark room, and washed."—“ Stop!” I exclaimed, “ is that my way of working?” “Oh, certainly; seo I have your written directions in my pocket-book.” He produced the book, and, lo and behold! he had trusted to his recollection of how I worked, and had done his washing before development, instead of after wards. He is now a good workman, and laughs at his mistake. This is but one of a great many instances that have occurred within my limited experience. Every schoolboy knows how easy it is to make a mistake in a simple sum of addition. How much easier it is to make mistakes in tho routine of a chemical formula. There are two classes of photographers—the practical opera tor who makes the art his means of procuring a livelihood, and the amateur who makes pictures for amusement. As far as my observation has enabled me to judge, the best workers in both classes are those who are the most willing to give their know ledge to others; they give freely from their abundant store, confident in their own skill, and expect in return that others should treat them with like courtesy. In the case of the prac tical operator, it is not to be wondered at that he should want to keep secret the principle of his success—the principles which enable him to work better or cheaper than his rivals in trade. We should value the gratuitous contributions to science from those who are thus helping others to equal or surpass them in what is essential to them in money-making, more than the teaching of amaters, who can only expect fame, and who know that they will gain what they desire by writing. Now, with regard to the secrets of the art, there are no doubt many changes being made in formulae and convenience of manipulation. When these changes originate with amateurs, a desire to show their discovery to the world soon prompts them CARTES DE VISITE, BY A. WYNTEE, M.D.* The commercial value of the human face was never tested to such an extent as it is at the present moment in these handy photographs. No man, or woman either, knows but that some accident may elevate them to the position of the hero of the hour, and send up the value of their countenances to a degree they never dreamed of. For instance, after the great fight with Heenan, Tom Sayers was beset by photographers, anxious for the honour of paying for a sitting; but his reply was, “ It’S no good, gentlemen, I’ve been and sold my mug to Mr. New- bold,” that sporting publisher having seen betimes the advan tage of securing the copyright of his phiz. Thus a new source of income has been opened to first-rate photographers, besides profit arising from taking portraits. A wholesale trade has sprung up with amazing rapidity, and to obtain a good sitter, and his permission to sell his carte de visite, is in itself an an nuity to a man. For instance, all our public men are what is termed in the trade “ sure cards; ” there is a constant demand for them, a much greater one, indeed, than can be supplied. It must be remembered that every picture has to be printed from the original negative, and the success of the printing pro cess depends upon the weather; in foggy, dark days no im pressions can be taken from the negative. It is true that neg*' tives can be taken from positives, or from carles de visite already in existence ; but the result is a deterioration of the portrait, a plan never resorted to by first-class photographers, such as Silvy, or Lock, or Mayall, although dishonest persons are to be found who will commit piracy in this manner for money. The public are little aware of the enormous sale of the cartes de visits of celebrated persons. An order will be given by a wholesale house for 10,000 of one individual, thus £400 will be put into the lucky photographer’s pocket who happens to possess th* i negative. As might have been expected, the chief demand is ( for the members of tho Royal Family. Her Majesty’s portraits, which Mr. Mayall alone has taken, sell by the 100,000. No ' greater tribute to the memory of his late Royal Highness tho | Prince Consort could have been paid than the fact that within one week from his decease no less than 70,000 of his cartes d visite were ordered from the house of Marion & Co., of Regen* Street. This house is by far the largest dealer in cartes de visit 1 in the country ; indeed, they do as much as all the other houses put together. The wholesale department of this establishment devoted to these portraits, is in itself a sight. To this centl 1 flow all the photographs in the country that “ will run.” Packed in the drawers and on the shelves are the representatives o thousands of Englishwomen and Englishmen waiting to W shuffled out to all the leading shops in the country. What s collection of British faces! If a box or two of them were to be sealed up and buried deep in the ground, to be dug up two three centuries hence, what a prize they- would be to the fortt nate finder! Hitherto we have only known our ancesto through the pencils of certain great artists, and the sitte themselves have all belonged to the highest class. Hence w° are apt to attribute certain leading expressions of countenance to our progenitors, which are rather owing to tho mannerism0 the painters than the sitters. Thus all Reynolds’s beauty possess a certain look in common; if we believed his bru) without any reserve, we should fancy that the English race 0 the latter part of the last century were the noblest lookin beings that ever trod tho earth. No portrait of man or worn?® ever came from his easel with a mean look. The same may 7. said of those of Gainsborough and Hoppner, and the result that all our knowledge of the faces of the last century is purell conventional. But it is far different with the carle de vis^ Here we have the very lines that Nature has engraven on 0U faces, and it can be said of them that no two are alike. Lz price, again, enables all tho bettor middle class to have thas portraits ; and by the system of exchange, forty of their friel (happy delusion) for two guineas 1 ch Let us imagine, then, a box of such pictures discovered of * time of the Commonwealth, for instance, or a few years lad What would wo give to have such pictures of old Pcpy 8 wife, and Mistress Nip? Yet treasures such as these wes bo able to hand down to our posterity, for there is littlesdon that photographs of the present day will remain perfect, if Git fully preserved, for generations. Silvi alone has tho nega t of sitters in number equal to the inhabitants of a large CoU
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