The photographic news

• Bandzählung: 13.1869
• Erscheinungsdatum: 1869
• Sprache: Englisch
• Signatur: F 135
• Vorlage: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: SLUB Dresden
• Rechtehinweis: Public Domain Mark 1.0
• URN: urn:nbn:de:bsz:14-db-id1780948042-186900000
• PURL: http://digital.slub-dresden.de/id1780948042-18690000
• OAI: oai:de:slub-dresden:db:id-1780948042-18690000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Bemerkung: Heft 545 (S. 73-84), Heft 547 (S. 97-108), Heft 589 (S. 599-610) fehlen in der Vorlage. Paginierfehler: Auf Seite 444 folgt Seite 443
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

234 ■THE PHOTOGRAPHIC NEWS. [May 14, 1869. contrary, a fait complexion, with black eyes and hair, should have a strong developer, because that reduces contrast. Ex perience alone can determine the kind of developer suitable for each individual, and every photographer should aim to so regulate his developer that it will give him harmonious, at the same time the most brilliant results. MANY MITES FROM MANY MINDS. BY EDWARD L. WILSON.* Be exact in mixing your solutions, and never use unclean vessels to put them in. Mind what you are about, carefully; then if you fail you will the better understand why. If you meet failure after success, you may be assured that it is because you have done differently from what you did when you succeeded. If you can, let your dark closet be roomy, and be sure to have nothing in it not actually needed there. No admittance for dirt or trash. Ventilate your dark closet, and save your health. Don't be afraid to have it light enough, so no white or actinic light is admitted. Have patience. If you fail, endeavour to understand why you fail, and try again. Light your sitter skilfully ; pose him tastefully ; focus sharply ; expose with judgment; develop carefully, and good work will reward you. If you stop your plate before fully immersed, there will be a line across it; putting it in before the collodion is set causes lines ; and, if you do not immerse it soon enough, the part of the plate that has become too dry will be insensitive, and show a transparent mark. The plate should remain in the bath at least twice as long in winter as in summer. Clean your dark slides frequently, and keep them well greased with lard. Handle the plate very carefully when it is in the dark slide. If the image starts out at once when the developer is applied, it has been over-exposed; if the image appears slowly, and the deep shades reluctantly, the plate is under exposed. First the high lights, then the light shades, and, finally, the deep shades, is the proper way. Remember, good negatives are the keystone of the grand arch of photography. Do not expect to get good prints and rich tones unless your negatives are good and rich, for it is impossible. In printing portraits, let the head be your guide ; get out all the half-tones clearly and nicely, so the likeness will be good. Print and tone deep for a purple-black tone; tone less for purple brown, and still less if you wish a rich chest nut brown. The majority of prints are cold, grey, weak, and flat, be cause they are over-toned. In winter, your solution will tone more rapidly if you warm it. The best way to warm it is to set the vessel holding your solution in another vessel of hot water. Do not tone in too much light. A weak shaded white (not yellow) light is best. If your toning solution is fresh and strong, be careful not to put more prints in at a time than you can manage. Keep the prints moving, and guard against their overlapping each other, and the formation of air-bubbles between them ; if you do not, they will tone unequally. Prints always dry up less brilliant and rich than they look to be in the solution. By looking through them you can tell what colour to get. Some persons forget to put salt in the intermediate water in which the prints are put between toning and fixing; the consequence is, they continue to tone, and become overtoned and spoiled. Salt arrests the toning. Do not forget this. Never use a fixing solution twice, and stir your prints frequently while they are in it, and use warm water in cold weather, for hypo makes cold water colder; air-bubbles * ‘'Photographic Mosaics.” forming between the prints in the hypo cause yellow spots. Wash your prints well in several changes of water after fixing. Good prints are worth all the effort you can put forth to secure them. If you think photography is a mere mechanical business, and success more dependent upon good luck than careful manipulation, get out ot it. You are in the wrong business. If trouble comes, keep cool, and calmly try to find it out and remove it. Care saves many a trial and much tribuls- tion, Do not blame your chemicals when you are yourself to blame. PHOTOGRAPHIC PIRACY. The Charge of Conspiract. The charge against John Coleman, John Lawrence, and William Hooper, for unlawfully conspiring together to procure pirated copies of certain paintings, of which Henry Graves had purchased the copyright, with intent to defraud, was heard at the Central Criminal Court on Tuesday week. The defendant Coleman pleaded guilty. Mr. Giffard, Q.C., was specially retained with Mr. Montagu Williams, to conduct the prosecution; Mr. Metcalfe appeared for Hooper, and Mr. Underwood appeared for Lawrence. The prosecutor in this case was Mr. Graves, and the object of the prosecution was to put down a system of pirating, by means of photography, engravings from valuable and popular paintings which he had purchased, and of which he had ob tained the copyright. It was stated that Mr. Graves had expended in the cours3 of his business nearly a quarter of a million of money in the purchase of works of art of this de scription, and that the consequence of the proceeding of which he now complained was to damage his business most seriously, the engravings for which he charged five guineas being sold by those who obtained them by means of the photographic process for ten or fifteen shillings. It appeared that the de fendant Lawrence occupied a room in a house in Goswell Street, and that Coleman was in trequont communication with him, and used to go to his residence, and bring away photo graphs in a black box, and when the place was searched no fewer than 850 painted photographs were discovered. In the course of the case it was admitted that the evidence was not sufficient to connect the defendant Hooper with the transaction. Mr. Underwood, at the close of the case for the prosecution, submitted that the facts proved in evidence would not support a charge of conspiracy, and that the prosecutor ought to have availed himself of the powers given by the act of parliament to proceed summarily before a magistrate. The Recorder said that although the act of parliament gave the power to proceed summarily, that did not preclude the prosecutor from preferring an indictment for conspiracy, if he thought proper to do so. The learned council then addressed the jury for the defend ant Lawrence, and contended that the prosecutor, Mr. Graves, had not made out his title to the copyright of tho works in question, and he called their attention to the clauses of the act of parliament, and argued that the facts would not support so serious a charge as that of conspiracy, and that tho proper course would have been to summon tho parties before a magistrate. Some witnesses were called for the defence, among whom were Mr. Millais, Mr. Frith, Mr. O’Neill, and Mr. Collinson, the eminent artists, by whom some ot the original pictures were painted, for the purpose, apparently, of showing that they had not disposed of their title of copyright to those pictures. To a certain extent, however, their evidence tended to confirm the evidence of Mr. Graves, that ho was entitled to the copyright of these pictures. The Recorder, in summing up, said he was clearly of opinion that Mr. Graves had made out a prima facie title to the copy right in these pictures, and the only question was whether the defendant Lawrence had knowingly entered into a conspiracy with the man Coleman, who had pleaded guilty, to contravene the act of parliament under which the indictment was prepared. The Jury, after a short deliberation, found the prisoner Lawrence guilty, and acquitted Hooper. Evidence was then given that the defendant Lawrence was fined £80 summarily, before tho magistrate at Marlborough Street, for a similar offence.