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The photographic news
- Bandzählung
- 14.1870
- Erscheinungsdatum
- 1870
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- Englisch
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- F 135
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- SLUB Dresden
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- Public Domain Mark 1.0
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- urn:nbn:de:bsz:14-db-id1780948042-187000001
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- http://digital.slub-dresden.de/id1780948042-18700000
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- oai:de:slub-dresden:db:id-1780948042-18700000
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Zeitschrift
The photographic news
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Band
Band 14.1870
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- Titelblatt Titelblatt -
- Sonstiges Preface -
- Ausgabe No. 592, January 7, 1870 1
- Ausgabe No. 593, January 14, 1870 13
- Ausgabe No. 594, January 21, 1870 25
- Ausgabe No. 595, January 28, 1870 37
- Ausgabe No. 596, February 4, 1870 49
- Ausgabe No. 597, February 11, 1870 61
- Ausgabe No. 598, February 18, 1870 73
- Ausgabe No. 599, February 25, 1870 85
- Ausgabe No. 600, March 4, 1870 97
- Ausgabe No. 601, March 11, 1870 109
- Ausgabe No. 602, March 18, 1870 121
- Ausgabe No. 603, March 25, 1870 133
- Ausgabe No. 604, April 1, 1870 145
- Ausgabe No. 605, April 8, 1870 157
- Ausgabe No. 606, April 14, 1870 169
- Ausgabe No. 607, April 22, 1870 181
- Ausgabe No. 608, April 29, 1870 193
- Ausgabe No. 609, May 6, 1870 205
- Ausgabe No. 610, May 13, 1870 217
- Ausgabe No. 611, May 20, 1870 229
- Ausgabe No. 612, May 27, 1870 241
- Ausgabe No. 613, June 3, 1870 253
- Ausgabe No. 614, June 10, 1870 265
- Ausgabe No. 615, June 17, 1870 277
- Ausgabe No. 616, June 24, 1870 289
- Ausgabe No. 617, July 1, 1870 301
- Ausgabe No. 618, July 8, 1870 313
- Ausgabe No. 619, July 15, 1870 325
- Ausgabe No. 620, July 22, 1870 337
- Ausgabe No. 621, July 29, 1870 349
- Ausgabe No. 622, August 5, 1870 361
- Ausgabe No. 623, August 12, 1870 373
- Ausgabe No. 624, August 19, 1870 385
- Ausgabe No. 625, August 26, 1870 397
- Ausgabe No. 626, September 2, 1870 409
- Ausgabe No. 627, September 9, 1870 421
- Ausgabe No. 628, September 16, 1870 433
- Ausgabe No. 629, September 23, 1870 445
- Ausgabe No. 630, September 30, 1870 457
- Ausgabe No. 631, October 7, 1870 469
- Ausgabe No. 632, October 14, 1870 481
- Ausgabe No. 633, October 21, 1870 493
- Ausgabe No. 634, October 28, 1870 505
- Ausgabe No. 635, November 4, 1870 517
- Ausgabe No. 636, November 11, 1870 529
- Ausgabe No. 637, November 18, 1870 541
- Ausgabe No. 638, November 25, 1870 553
- Ausgabe No. 639, December 2, 1870 565
- Ausgabe No. 640, December 9, 1870 577
- Ausgabe No. 641, December 16, 1870 589
- Ausgabe No. 642, December 23, 1870 601
- Ausgabe No. 643, December 30, 1870 613
- Register Index 619
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Band
Band 14.1870
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THE PHOTOGRAPHIC NEWS. JANUARY 7, 1870.] in the acid and water. I have been particular in describing the details of this simple operation, not because I attach undue importance to “ sharpness and cleanness,” but because I feel that anything which will lessen the anxiety of the photographer with regard to the little chemical and mechanical difficulties in the process will bo a gain, inas much as it will enable him to devote more attention to those higher qualities in the negative on which its claim to be called a picture must depend. I wish it to be understood that I do not claim the above plan as new. Probably it is already in use by many of your readers. If not, let them try it. All who have adopted it agree that, whatever else may go wrong, they do not know what it is to have a “ dirty plate.” TRANSFERRING FILMS. How to Take a NEGATIVE from the PLars, and Print FROM EITHER SIE. BI DAVID DUNOAN. It is by no means undesirable to be enabled to print from both sides of a negative in an ordinary photographic print ing-frame; a simple and effective method of making re versed negatives for various requirements of the art like wise is “ a consummation devoutly to be wished.” The methods of making inverted negatives at present known are both troublesome and unsatisfactory; for ex ample ;—First, there is the plan in which a mirror is used ; secondly, by making a transparency, and a reversed nega tive from that; thirdly, by taking the picture through the glass plate, instead of direct on the collodion film. Excel lent negatives can be obtained by the latter plan, but the glass must be faultless, free from drops of bath solution, and not defective in itself by air-bubbles, scratches, &c., to say nothing of the difficulty in working up such a negative of an engraving to the required density, the image being formed on the side of the collodion film next to the glass. It is well known that the various sugrestions which have been made, from time to time, for the removal of the ex posed film from the plate, are not unattended with danger to the picture itself, nor so complete in the modus operandi as they might be. I therefore, as a votary of the photo graphic art, take pleasure in publishing a method which, to my mind, is both simple and effective, believing it will be of service to the profession. If I cannot claim for the whole of my plan originality, I can, at least, say it is new. It is not unlike Mr. W. Woodbury’s suggestion, published in the Year-Book or PIOTOGRAPHY some time ago; but be it remembered that, although castor oil collodion has been used before, so has albumen, wax, silver, glass, expe rience, and brains. So much, then, by way of preface. 1. Prepare and filter the following solution :— White of ... ... ... ... 1 egg Water 8 ounces. 2. Take a clean glass plate, and coat one side with a thin film of wax (I prefer to rub the wax on dry ; i.e., not dis solved in any solvent, and then nearly rub off again with a clean piece of flannel or cloth) ; coat the waxed side with good, plain collodion ; when firmly set, wash under a gentle stream- from a tap until the water flows well and smoothly over it; pour over, carefully, sufficient of the albumen solu tion, and put aside to dry. A number of plates can be prepared in like manner; they will keep a considerable time. 3. When about to take the picture, take one of the pre pared plates, coat, sensitize, expose, develop it in the usual way; when thoroughly washed, flood the exposed film with the albumen solution, and dry. 4. When the negative is dry, carefully level it on a level ling-stand, and cover with plain collodion containing about two per cent, of castor oil; when that has dried, a knife can be run round the edges of the plate, and the picture, im prisoned between two films of albumen and two films of collodion, lifted from the glass ready for printing from. The advantages and simplicity of the above method will be easily recognized. A transferred negative, or transparency, can be again attached to a piece of glass by flowing over a thin solution of gelatine, carefully laying the film thereon, and pressing gently with the hands. Negatives or transparencies made in the manner described can be stored between the pages of a book, thousands occupying less space than a hundred or so on glass. They can be likewise rendered waterproof by immersion in a soluble varnish, and hanging up by clips until dry. The plates can be prepared by every photographer a month or so before using. If cleanliness is observed, the bath is not in the least affected. And, finally, there is but one precau tion to be observed, and that is, be sure the prepared plate is not damp ere it is coated with sensitive collodion, and the picture taken. LIGHTING THE SITTER, OR PRODUCING EFFECTS IN PORTRAITURE ONLY. BY ROBERT GILLO. Many effects that are exceedingly beautiful are totally un suited to be photographed, on account of that effect either being due to or influenced by colour. For instance, how many effects have we not seen of faces in shadow lit up by a reflec tion from, perhaps, a red object? And yet, if any effect of this kind be photographed, we know what the result would be; certainly, not anything like the effect we saw in the model. Hence our effect must depend on light and shade principally, if not entirely. The larger the amount of light that can be admitted the better, provided it produces the required effect. If results can be obtained in the open air, they will be the most lapid. In open-air portraiture there are several difficulties to be contended with; many of them, at times, cannot be overcome: first, strong reflections from the ground, and sometimes other surfaces ; second, the sitter is often obliged to look towards the sky or strong light, so that it is only with the greatest difficulty he can keep his eyes open at all; but even if he should succeed, the reflection destroys all expres sion, and gives a weak and washed-out effect to an eye naturally beaming with brilliancy and intelligence. The most convenient situation is a corner, so that the figure may have a suitable background; or a temporary one may be erected, and a long and high wall on one side, close to the sitter, the object being to shut out all light from one side, except that which is reflected from the wall. The eyes should look towards some agreeable object, as a large tree or building if a dark colour, but on no account stare at the sky. There is, of course, one fatal objection to portraiture out of doors: I mean wind and weather ; this obliges us to have recourse to the glass house. There may be made a broad distinction between two effects, the one full of light, soft and delicate, free from any dark shadows, suitable for small pictures, vignettes, and particularly for ladies’ portraits; the other brilliant, with strong contrast of light and shade. I believe Adam-Salo mon’s pictures possess this effect in the greatest degree, together with great delicacy and softness. He seems to me to possess both these styles combined in great excellence, more so than either of those who have imitated his works. A glass house suitable for one effect will not do for the other. I do not mean to say that both effects may not be got in the same glass house by an arrangement of blinds, &c. For the soft and delicate effect a house with an average amount of front light is necessary, for, obviously, the nearer the direction of the light is to the direction of the camera, with regard to the sitter, the less shadow there will be, and the flatter the result; on the contrary, the more the light strikes across the glass house the more vigorous the shadow 5
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