Suche löschen...
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
- Lizenz-/Rechtehinweis
- Public Domain Mark 1.0
- URN
- urn:nbn:de:bsz:14-db-id1780948042-186900000
- PURL
- http://digital.slub-dresden.de/id1780948042-18690000
- OAI-Identifier
- oai:de:slub-dresden:db:id-1780948042-18690000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
- 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
- Parlamentsperiode
- -
- Wahlperiode
- -
- Bandzählung
- No. 562, June 11, 1869
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
- -
-
Zeitschrift
The photographic news
-
Band
Band 13.1869
-
- Ausgabe Ausgabe 1
- Ausgabe Ausgabe 13
- Ausgabe Ausgabe 25
- Ausgabe Ausgabe 37
- Ausgabe Ausgabe 49
- Ausgabe Ausgabe 61
- Ausgabe Ausgabe 85
- Ausgabe Ausgabe 109
- Ausgabe Ausgabe 121
- Ausgabe Ausgabe 133
- Ausgabe Ausgabe 145
- Ausgabe Ausgabe 157
- Ausgabe Ausgabe 169
- Ausgabe Ausgabe 181
- Ausgabe Ausgabe 193
- Ausgabe Ausgabe 205
- Ausgabe Ausgabe 217
- Ausgabe Ausgabe 229
- Ausgabe Ausgabe 241
- Ausgabe Ausgabe 253
- Ausgabe Ausgabe 265
- Ausgabe Ausgabe 277
- Ausgabe Ausgabe 289
- Ausgabe Ausgabe 301
- Ausgabe Ausgabe 313
- Ausgabe Ausgabe 325
- Ausgabe Ausgabe 337
- Ausgabe Ausgabe 349
- Ausgabe Ausgabe 361
- Ausgabe Ausgabe 373
- Ausgabe Ausgabe 385
- Ausgabe Ausgabe 397
- Ausgabe Ausgabe 409
- Ausgabe Ausgabe 421
- Ausgabe Ausgabe 433
- Ausgabe Ausgabe 443
- Ausgabe Ausgabe 455
- Ausgabe Ausgabe 467
- Ausgabe Ausgabe 479
- Ausgabe Ausgabe 491
- Ausgabe Ausgabe 503
- Ausgabe Ausgabe 515
- Ausgabe Ausgabe 527
- Ausgabe Ausgabe 539
- Ausgabe Ausgabe 551
- Ausgabe Ausgabe 563
- Ausgabe Ausgabe 575
- Ausgabe Ausgabe 587
- Ausgabe Ausgabe 611
- Ausgabe Ausgabe 623
- Register Index To Volume XIII 629
-
Band
Band 13.1869
-
- Titel
- The photographic news
- Autor
- Links
- Downloads
- Einzelseite als Bild herunterladen (JPG)
-
Volltext Seite (XML)
JUNE 11, 1869.] THE PHOTOGRAPHIC NEWS. 281 THE BLACK SIDE OF OUR MODERN PRINTING PROCESS. BY DI!. JULIUS STINDE.* At the last German Photographic Exhibition held at Hamburg an opportunity was afforded to the observer, not only of comparing the productions of various operators, as regards their artistic and technical qualifications, but it was also possible, in consequence of the lengthened dura tion of the gathering, to form an opinion with reference to the capabilities of endurance of the pictures exhibited. The lateness of the season, and the unfavourableness of the weather, the moisture (partly introduced by the public, and partly by slight imperfections occasioned in the glass roof of the building by the violent storms), the frequent change of temperature brought about by lighting the interior with gas—all these circumstances combined could not fail, in a very short time, to effect a distinction between the good and the bad pictures, for upon the imperfectly washed prints the sickly yellowish tint of the soda became quickly apparent. The above-mentioned circumstances, however, together with the searching light within the building, were not alone instrumental in rousing into action the concealed enemy : several pictures were found, on the unpacking of the cases, to be already attacked. During the period of the exhibition this injurious action naturally continued, and, with some of the pictures, to such a degree, that in the course of three weeks only the deepest shadows in the print were to be recognized ; the half-tones had become merged into the yellow lights, and were with diffi culty distinguishable from the original whites. That such appearances could not have been overlooked by the majority of the public is evident, and the injurious effects which the exposition of “ our shame,” as one of our best photographers has aptly denominated the fading of badly-washed pictures, must ultimately have upon the pro fession, need not be dilated on. The questionable stability of silver prints has long been a stumbling-block in pre venting the spread of photography, and this prejudice cannot fail to increase when the public discover that there are some descriptions of photographs which perish after the lapse of a few weeks only. Characteristic of the energy of the damage exerted by the hyposulphite is the letter of an exhibitor, who posi tively asserted that some evil-disposed person had poured over his specimens (enlargements) some corrosive fluid, and in their injured state his pictures were returned to him. The corrosive liquid was nothing more than moisture de rived from the lungs of vistors, or from circumstances already referred to ; this moisture condensed upon the unframed pictures, and the soda contained in these was thus set into busy action, for, as the old chemical proverb has it, corpora, non agunt, nisi soluta. That the moisture alone was not guilty of the injury to the prints is proved by the fact that numerous specimens hanging in the imme diate vicinity of the damaged pictures, and subjected to the same influences, remained as fresh and vigorous as when first issued from the studio. In many instances the frame and glass were insufficient to shield the photographs from their inward destruction. An interesting fact, and one well worthy of record, is, that wherever the presence of hyposulphite was perceptible, the whole collection shown by the same exhibitor generally bore traces of the deteriorating influence throughout; it was seldom the case that among the good pictures of another exhibitor one or other of the specimens showed signs of injury. Figures prove this fact. Out of 187 exhibitors (of pictures) 21 show prints which were more or less damaged by hypo, at the rate, therefore, of 11 per cent. Out of 1,830 pictures exhibited, there were 268 suffering from the presence of hypo, representing a percentage of 14. From these figures we deduce that a larger number of the damaged pictures must be divided among a small number * Photographische Mittheilungen. of exhibitors, and therefore individual exhibitors must have shown whole collections of badly-prepared pictures. If there had been a larger percentage of exhibitors of inferior pictures, it would have been our duty to have re corded that the hypo difficulty was a general one. The 11 per cent, of exhibitors of inferior pictures, the greater portion of whose productions (at least, 55 per cent.) contained hypo, were men whose work was uni- formly uncertain. A study of the location of the studios of these photographers, whose whereabouts was discovered partly by means of information, and partly by inference, showed that in these particular cases no water was laid on in the vicinity, and that the proper washing of thepietures was therefore a matter of difficulty. -This cause can, how ever, be scarcely accepted as an extenuation of the fault, but is rather a proof, either of ignorance in the manipu lation, or an indifference to all photo-chemical re-actions. If we assume that the best works of these gentlemen were sent to the exhibition, and that out of every hundred pic tures fourteen were contaminated with hypo ; and that out of every hundred exhibitors eleven forwarded pictures of this description, which perished under the very eyes of the public; then it is perfectly clear how much yet re mains to be done before the art is perfected; and, more over, how difficult it will be to vulgarise improvements in the process. A photograph of 1850 which has faded may be overlooked, but to forgive an exhibitor who, in the year 1868, exhibits pictures which perish from the effects of hyposulphite within a few days, is absolutely impossible, for he who is ignorant of the all-important operation of washing a photograph, and of the manipula tions to be pursued for freeing a print from hyposulphite of soda, has certainly no pretensions to be considered a practical photographer. It is the duty of every photo grapher to devote himself to the task of exterminating altogether our arch-enemy, hypo, and, at the same time, the misgivings of the public in regard to the stability of. photographs, even when the art appears to him merely in the light of a milch-cow, and he is ignorant or indifferent as regards its present importance or future position. ON A NEW METHOD OF PREPARING ANY KIND OF PAPER FOR PHOTOGRAPHIC PRINTING. BY W. ». DAVIES.* The Edinburgh Photographic Society seems to have set itself, during the last few meetings, to the task of consider ing, in a succession of papers, the different modes and media with which and on which silver prints could be impressed ; and this resuscitation of a nearly forgotten idea must be put down to a desire to keep up the same train of thought, and to prompt experimenters in this and similar directions to in creased energy and perseverance. Some dozen or more years ago, when considerable diffi culty was felt by most amateurs, and also by many pro fessionals, in the manipulation of albuminized paper, and the greater difficulties which that class of paper caused in toning, fixing, and washing, I conceived the system of pre paring plain paper on which I propose to treat this even ing ; but at that time there was no Edinburgh Society, where these little things could bo ventilated and discussed, and it had fallen asleep again until now. In re-directing my attention to this unpublished idea, I find that it has an importance, and the results it produces a power, which war rants its present publication, but which, at the moment of its first discovery, did not appear. . . Ideas which are useful, new, and good, are said to-be fair patentable commodities; but as I entertain decided ob jections to all patents whatever, and especially to those granted in connection with photography, I must begin as Mr. McCraw did at the last meeting—by protesting against * Read at a meeting of the Edinburgh Photographic Society, May 19, 1869.
- Aktuelle Seite (TXT)
- METS Datei (XML)
- IIIF Manifest (JSON)