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January 22, 1869.] THE PHOTOGRAPHIC NEWS. as the organ of the Association ; the institution of future exhibitions, &c. A committee was appointed to consider c the subject, consisting of MM. Albert, Kruger, Luckhardt, c Richter, Schrank, and Stinde. c The Mittheilungen for December gives a specimen print 8 of M. Grune’s photographic process. By this method a 8 photograph of any object may be transferred to a wood , block, and the latter is then engraved in the ordinary 1 manner. By adopting a process of this kind the engraver I on wood effects a considerable saving of time, and is ; enabled to render the object more faithfully. M. Albert, of Munich, has succeeded in producing some . very fine photo-mechanical prints by a method, it is believed, somewhat analogous to that of M. Tessie; M. Albert’s prints appear, however, to be superior to those 1 of that gentleman, as no grain is apparent in them. The process is also stated to be a much more serviceable one, 1 for whereas, in that of M. Tessie, it is possible to pull off but 70 copies from each plate, by means of M. Albert’s as many as 1,000 may be produced. Dr. Vogel states that he has received many approvals of Mr. Gordon’s gum process, one gentleman of his acquaint ance having obtained three dozen good negatives out of three dozen dry plates. This photographer states that the plates are endowed with excellent keeping qualities; his manner of preparing them was, however, slightly different from the method as originally made known. After washing the plate twice with distilled and once with ordinary water, he poured over it a -grain (a saturated) solution of gallic acid, and afterwards, before drying, treated it with a coating of— Gum arabic ... ... ... 20 grains Sugar-candy ... ... ... 5 , Distilled water ... ... ... 1 ounce The negatives produced could not be distinguished in any way from wet collodion plates. To convert the liquid from old dipping baths into a serviceable solution for sensitizing paper, M. Lother, in the Mittheilungen, recommends the addition of three times their volume of water to precipitate the iodide, and then filtra tion until the argentometer indicates a strength of 10 per cent, of silver. If the iodide remain in the solution, the toning proceeds very slowly, and the prints assume a reddish tint on fixing. M. Braun, of Dornach, has recently enlarged his estab lishment, to enable him to proceed more rapidly with the carbon printing. All reproductions of pictures taken by him are produced exclusively in pigments, although for landscape negatives, &c., the silver process is still used. At Hamburg, the firm of Mencke and Co. have recently adopted the carbon process, which is worked under the superintendence of M. Schaarwachter, a former pupil of Dr. Vogel’s. At the December meeting of the Marseilles Photographic Society, M. Meynier again opened up the question of the employment of the Sei Clement, of which he had made two analyses, the first giving :— Nitrate of silver ... ... ... 40 parts Nitrate of magnesia ... ... GO „ The second analysis was of a sample received direct from M. Clement, and gave results as follows:— Nitrate of silver 38 parts Nitrate of magnesia G2 „ In using, therefore, a bath containing 15 per cent, of Sei Clement, one was working with a solution containing, in reality, but 5-85 per cent, of nitrate of silver; according to M. Meynier the magnesia, for which a very high price was paid, was of no advantage, and he therefore protested against the pretensions which had been put forward on behalf of the compound. At the same meeting M. Taylor exhibited an ingeniously contrived photometre, consisting of a series of cylindrical cells, covered with an opaque material through which openings had been made, all of precisely the same dimen sions ; the number of these openings varied in every case— as, for instance, the first had three, the next six, and so on. At the base of these cylinders was a sheet of sensitized paper, which became blackened by the diffused light entering through the openings, and, of course, where the latter were most numerous, there the greater amount of light entered, and the paper was the more rapidly acted upon. The results obtained were afterwards compared with a standard scale. The Moniteur de la Photographic contains an interesting article on the measurement of light, by M. Radau, in con tinuation of the paper on Photographic Chemistry by the same writer. A correspondent of the same journal, writing from Gib raltar, comments in exceedingly favourable terms upon the work of M. de Antez, of that town. The Spanish studies of this photographer are said to rival the work of the best Paris artists, his skill being shown in the great variety of his subject-pictures, whether depicting a love scene with guitar accompaniment, or a deadly combat of war to the knife. Among M. Antez’ most striking studies are, “ Re pose after Work,” the sun setting over a calm landscape, with Spanish peasants resting at the threshold of a cot tage decked with overhanging creepers, and listening to the sound of a guitar played by a handsome black-eyed brunette; and “ Waiting for an Answer,” a young gallant, gorgeously attired, smoking a cigar, and awaiting the ex pectant reply, for which he will evidently not have to stay very long, judging from the attitude of the lady, whose profile is seen at the partly opened lattice. The “ Devil’s Tongue ” and the “ Governor’s Cottage ” are mentioned as two of the finest landscape views produced by M. Antez. A new toning salt was described at the last meeting of the French Photographic Society, which has received the name of Sei Encausse. It is mixed with a larger or smaller quantity of water, according as sepia or black tones are required, and shaken up until in a frothy condition. It is then allowed to settle for four-and-twenty hours, but, before employment, is again agitated. A quantity sufficient to cover the prints to be toned is poured into a porcelain dish, and the photographs are then plunged into it in a . dry condition without previous washing, the bath being slightly warmed if the process is required to be performed ■ rapidly. This method of toning is said to be a very economical one, for the excess of nitrate of silver upon the prints may be subsequently collected as a residue in a very , pure state by pouring back the solution into a bottle, : allowing to settle, and then decanting off the upper portion of the liquid. 3 At the same meeting of the Society, some albuminous > colouring materials were shown by M. Talbot for applica- , tion to albuminized surfaces, which, if large, are incapable of receiving pigments in the ordinary way. In order to apply these albumen colours the surface of the print is first moistened, and the pigment then diluted by means of a brush impregnated with water; the picture is then covered t with successive transparent coatings of colour until suffi cient intensity has been produced. The colours brighten up on drying. Dr. Phipson, the able English correspondent of the ■I Moniteur, in alluding to the fact of an atmosphere being 1 purified by the combustion of sulphur and the generation of g sulphurous acid, states that inasmuch as silver photographs e are injured by contact with this latter compound, the air 1 contained in the photographic galleries might be purified n by this means without any fears being entertained of the result. He states that pastilles of sulphur are now manu-