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The photographic news
- Bandzählung
- 6.1862
- Erscheinungsdatum
- 1862
- Sprache
- Englisch
- Signatur
- F 135
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- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
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- http://digital.slub-dresden.de/id1780948042-18620000
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- Bandzählung
- No. 219, November 14, 1862
- Digitalisat
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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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NovEMIBEI 14, 1862.] THE PHOTOGRAPHIC NEWS. 545 the back numbers of the Photogbaphio News, the same advice is to be found in different words. Why use as little light as possible ? Is it the quantity or the quality of the light admitted that affects the issue ? Surely, the quality. Given, then, a certain thoroughly non-actinic light, you may admit any quantity, and the more you have, the better you can see to do your work. I write thus confidently, because, about twelve months since, having to build a glass room and developing chamber adjoining, I determined to step out of the beaten track, and have a largo window im mediately facing the developing sink. This window, of 4 feet each way, is filled with yellow flashed glass, of the lightest lemon colour ; so that the room is sufficiently illuminated by this window, and another rather smaller at the other end, to read the smallest print. During summer, the sun has frequently shone through this window on to the plate during developing, without the slightest appearance of injury, although the chemicals I use are invariably in a state of the highest possible sensi bility. Before this glass was put into the window, it was carefully examined in Mr. Crookes’s spectroscope, and was found to cut off the whole of the blue, and to leave the smallest possible trace of green. During last summer, I performed the following experi ment, at least six times, in order to discover the presence of ’’lute, or actinic, light in the room. On leaving off work on Saturday night, a dry plate, prepared by the Fothergill process, was placed in a slide under a negative, having one half covered over, and by the side was placed another dry plate, both these were placed opposite the full glare of light, until Monday, when a developer of great strength was ap plied, but every means known to photographers failed to •how that the slightest amount of actinic light had reached these plates. I, therefore, urge upon photographers the desirability of emerging from their wretched holes and comers, and putting into their dark rooms three or four 12-inch squares of yellow glass. The “ Answers to Corres pondents” of this journal almost every week will show, that, by sending samples of the glass to be used to the Editor the fullest information may be obtained as to its suita bility for the purpose. These remarks apply in at least As great an extent, to the rooms for sensitizing paper, us to the developing room. What a wretched thing for People to be carrying on delicate artistic operations in a Toom so dark that the very furniture in the place can scarcely be perceived for some minutes after entering. How touch more comfortable, and agreeable to the feelings, to work in a well-lighted room? and I do sincerely trust that this paper may have its effect in leading photographers to ’’ork with more yellow glass in their rooms, and by all means avoid the use of yellow calico, or paper; any such material must, of necessity, soon fade, unperceived, on the Ontside, and thus fog may gradually set in, unsuspected, and cause unheard of trouble. In conclusion, I may just add, that I used at the sea-side, Fecently, a box for development, having a square of lemon yellow glass to admit light, this box offered great ad vantages from the full stream of light admitted of perfect hon-actinic quality; this glass resisted successfully the hoontide rays of midsummer, in France, and also at a num ber of seaside places in the south of England. I do, there fore, beg of photographers to inquire for themselves into the Question, as regards their own developing rooms, believing that their comforts will be materially enhanced. No deduc tions could possibly be more erroneous than those that have been drawn as to the effect of true yellow light on the NEW PHOTOLITHOGRAPHIC PROCESS. "I German correspondent of the Daily Telegraph gives the 1olo wing account of a " new " lithographic process recently discovered.” It is exceedingly amusing to observe how a former steps in this direction arc ignored: and not a little singular, that an engineer on the central staff of the Prussian Army, should have been two years experimenting in this direction, and then making the discovery, when it is a fact, that about two years ago Mr. Osborne’s pamphlet, des cribing his whole process, was sent to the Prussian Govern ment. So far as the description goes, it does not appear that anything additional had been discovered.—• Immediately after the invention of photography the problem was started, instead of multiplying the negative plate by chemical processes and the effect of light, to procure copies from the same in a purely mechanical way, as in lithography and the kindred arts. Numerous experiments were eagerly made, and all possible materials, such as copper, steel, zinc, stone, wood, and the like, employed for the solution of attendant difficulties. After many abortive attempts, a gentleman at Southampton succeeded in producing multiplied copies on zinc ; but the print was so defective in all the niceties of light and shade, as to confine the application of the process to autographs. One step farther in advance, as regards execution at least, of this creditable yet rudimentary beginning, was subse quently made in the Imperial printing office at Vienna, which, however, did not get beyond the sphere upon which it improved. A method has at length been discovered, which is likely to cause an entire revolution in this particular branch—a revo lution hardly less sweeping, and perhaps even more important in its effects, than the starting of lithography by Sennefelder, or the rise of the photographic art under the hands of Mr. Talbot. For this progress we are indebted to Herr Burchard, a working engineer on the central staff' of the Prussian army, and who, from the multiplication of geographical photographs, was led to extend his researches to the more difficult field of drawings and pictorial designs. After two years of incessant trial, his endeavours have been crowned with success. There is being exhibited a collection of maps and artistic plates, multiplied by his process, and which would seem to deserve unqualified com mendation for the beauty as well as tho cheapness of the article. The process, so far as it regards tho transference of tho photographic negative to tho stone, and tho preparation of tho latter for print, is the secret of the inventor. Herr Burchard calls his new method photolithography. Once prepared for print, the stone, which is taken from the well known Solenhofen quarries, looks exactly like tho common lithographs, but in so far differs from tho inferior products of the simple art, that it admits of an almost unlimited number of copies being taken, 3,000 at least being struck off, before any diminution in their distinctness and general appearance becomes apparent. All these copies are perfect fac-similes of the original negatives, and, what adds considerably to their value, being produced by lithography, they are not subject to tho changes of tone and sharpness of outline which go so far to deteriorate tho artistic worth of photographs after a short lapse of time. As yet Herr Burchard has devoted his chief attention to Albrecht Durer and Schinko], two German masters separated by many generations, but linked together by an equal loftiness of artistic spirit. Of Albrecht Durer, he has produced in tho size of tho originals, the Lesser Passion, in 37 sheets; two woodcuts—the Trinity, and the Holy Virgin with Child; and the so-called iron engraving of the Germans, representing hrist on the Mount of Olives : all these copies being such successful repetitions of the original, as to have deceived tho critical acumen of even the most distinguished connoisseurs. Tho works of Schinkel, tho architect of the Berlin museum, comprehend a number of landscapes and architectural designs. Of the landscapes, that representing tho waterfall of Gastein, 27} inches by 20}, is the most prominent, by rendering tho most delicate shades with a perfection not to bo excelled. Tho perspective of tho cascade, too, has been greatly admired, and is an effect not to be outrivalled in any kind of mechanical printing. All these works are taken from line engravings, or from drawings in the same style of art—a limitation of tho powers of the new process, not yet entirely overcome by tho in ventor. It is, however, only fair to Herr Burchard to mention that his latest experiments, and the considerable progress ho has already achieved in the multiplication of oil paintings, make it a matter of the highest probability that tho new process will bo shortly extended with equal excellence to the reproduc tion of every variety of existing photographs. It may bo expected with certainty, that the now invention will have an incalculable influence upon all branches of human activity, as well in the ideal realm of art, as in the business
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