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The photographic news
- Bandzählung
- 14.1870
- Erscheinungsdatum
- 1870
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- Hochschule für Grafik und Buchkunst Leipzig
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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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could be made to produce enlargements. The new light, or rather lights, to which Dr. Monckhoven has been giving his attention, are not yet sufficiently perfected to be recom mended for practical use ; but the application of the Carle- varis principle was most ingenious and satisfactory. I have been a little amused, on reading in the American journals, to note a complaint made at the New York Society. Mr. Chapman complains of the recent republica tion in America, and accrediting Mr. England with the idea, of the plan of boiling the printing bath as a moans of getting rid of the accumulation of organic matter, seeing that he himself published the plan in 1865. If Mr. Chapman refers to the second volume of the Photographic News, 1859, he will find the method referred to there, not as a novelty, but as a recognized method. Its republication as a process used by Mr. England was rather to give it the weight of his experience, I apprehend, than to claim for it any special novelty. Mr. Hull is reported to have remarked that the “ Old World usually claimed as their own whatever happened to be first produced in the New ” ! If Mr. Hull be correctly reported here, he is surely, as a photographer, a little oblivious or ungrateful. America has contributed a respectable quota to the progress of the photographic art, but 1 have yet to learn that the Old World has laid profane hands on any of the laurels of the New in this art. Was photography on silver plate, glass, or paper discovered in the New World? Was the collodion process discovered there? Was the carbon process discovered there? Was the Woodbury process discovered there? Was the Alberttype process discovered there? In short, to be an inventive and ingenious nation, does it not seem a fact, that whatever of executive skill and enterprise they have shown, they have not contributed their fair quota to the discoveries of the photographic art? Nor have they introduced novelties or improvements which have taken their place in the universal practice of the art. With all friendly feeling, and without a desire to introduce any bitterness into the matter, I should like to ask those American photographers who charge the Old World with a “ habit of appropriation ” in regard to American photographic ideas, to point out one important photographic discovery, which has come into practice, which does not belong to the Old World, and also to point to one important American modification or im provement, the origin of which has not been duly acknowledged. Amongst the interesting events of the month was the lecture of Mr. Davenport on prints and their production, illustrated by a most complete collection of prints, forming a practical history of pictorial printing processes. I believe the pictures still remain on view at the Society of Arts : such a collection should, if possible, be kept on view in some of our public institutions. The controversy on the origin of the collodion process seems to have terminated much where it began. Every one seems to admit that Le Gray first suggested or tried collo dion, and that Archer first published a workable formula, which practically gave birth to the process; and different minds will give different degrees of credit to each, just in proportion as they attach importance to initial ideas, or that practical development of ideas which gives to “ airy no things a local habitation and, a name !” Mankind generally have agreed to give the credit to him who has made a thing practically possible. Steam engines existed before the time of Watt, but he made such improvements as gave practical value to steam machinery, and with his name is associated its practical introduction. Tramways and loco motive engines existed before George Stephenson, but to him is accorded the credit of introducing the system of railway transit. The idea of photography existed before Niepce, Talbot, and Daguerre, but their names will always be associated with the origin of photography as an art. Pretsch first suggested printing from a film of bichromated gelatine, but no one will deny to Albert all the credit of the beautiful system he has perfected. It is curious how little, in the way of suggestion, has been published in relation to the preparation of sensitive papers which will keep. Several excellent samples are in the market, but the secret of the mode of preparatiou seems to be well guarded. Most photographers are familiar with the fact that washed sensitive papers will keep very well, but that the prints from such papers lack vigour. Carrier’s paper may easily be an example of this mode of treatment. The collodio-chloride papers of the Leptographic Company, Obernetter, and others gave, however, great force and richness, as do the permanent albuminized papers in this countiy. It is clear that the free nitrate is not washed away in these cases. What is the secret ? If it were not for the fact that silver printing must be superseded by carbon, I should consider this one of the most important of questions for photographers. For those who do not object to the trouble, the plan recently published, of fuming washed sensitive paper to restore its power of yielding vigorous prints, seems worthy of attention. As I am not a contributor to the YEAR-Book or Photo graphy, I may, without impropriety, congratulate the Editor on the admirable character of the issue for 1870, and the rare array of talent amongst the contributors. Such a number of valuable articles, on such varied subjects, by such a large body of contributors, was never, I apprehend, before issued in a shilling brochure. It is pleasant to see that the photographic annual which first showed the way to a multi tude of followers of the same kind still keeps the van. Society proceedings have been in several instances very interesting recently. The successful demonstrations at the Parent Society I have mentioned. At the South, amongst other things, was an interesting discussion on the gull negative, a portion of which was shown ; but nothing very specific was elicited. The Bristol Society has given two nights to the subject of glass houses and lighting, which possesses perennial interest for photographc portraitists. Mr. Ennel was ingenious, but eccentric, in his notions of the superiority of front light, and did not seem to produce conviction amongst the mem bers. I have no doubt that Queen Elizabeth, who objected to shadow in her portraits, would have strongly approved front light, as nothing can, of course, so effectually obliterate shadow on the face. The meetings of the Edinburgh Society always appear to be interesting. Mr. Davies read a paper on simple enlarging apparatus, the substance of which I find in his article in the Year-Book just issued. I was struck with a remark made by one member in a discussion arising out of the examination of some Albert prints. He said that much nonsense was uttered about the instability of silver printing, and added, that he had a book of Mr. D. O. Hills’ photo graphs, which were as good as on the first day, although they could not be less than twenty-five years old. I should not like to intimate that there was anything nonsensical about this argument, but I cannot help thinking that the speaker himself must see that it is very fallacious as an argument. Mr. Hills’ prints may not have changed in a quarter of a century ; they may be as good as they were on the first day ; but what were they on the first day? Would any profes sional portraitist present such prints to his customers now ? Do not let me be misunderstood. I should be sorry to appear to depreciate Mr. Hills’ prints: they were amongst the most artistic, as well as earliest examples of photo graphic portraiture. Capital in arrangement, forcible in light and shade, full of character, they wore prints which any one of artistic taste must value highly. But they were not like the prints of the present day : they were on plain paper, of various tints of brown, some pleasing, others rusty or foxey in hue, and lacking anything like extreme delicacy. They had neither the tone nor the deli cacy of gradation of albuminized prints of this day. Many persons will answer that the cleanness, precision, and tone in modern prints are a poor substitute for the qualities lost; and I for one am not about to dispute the position. But
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