The photographic news

• Bandzählung: 7.1863
• Erscheinungsdatum: 1863
• 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-id1780948042-186300004
• PURL: http://digital.slub-dresden.de/id1780948042-18630000
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• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

252 THE PHOTOGRAPHIC NEWS. [May 22, 1863. I have deferred writing to you for two or three weeks hoping to get the leisure to try a few plates, by way of con firming my experiments of last autumn, but professional duties have so occupied all my time, and still do so, that 1 do not see any chance of being able to do this for some time, and therefore send the process just as it is, that it may be tested and discussed by more able photographers. Hoping that I may have communicated one useful hint for the benefit of others, in return for the many which I have received through your valuable journal,—I am, sir, your obedient servant, John G. LrESAx. • Ualk in the Studio. Colouring Photographic Pictures.—A patent has recently been taken in the United States for colouring photographic pictures on albumenized paper with dry colours. Such pictures, owing to the albumenized paper not being capable of receiving dry colours without some preparation, and no perfectly suitable preparation having been heretofore known, are commonly coloured with water colours, and this can only be done success fully by skilful artists so as to bear the close inspection to which such pictures are subject. This invention consists in the use of collodion as a medium for receiving dry colours on such pictures. The Eclipse of the 17th inst.—Wo have received from Mr. W. Deane, of Richmond, Surrey, an interesting card pic ture of the partial eclipse of the sun on the 17th inst., taken 6h. 10m. p.m., a little before the greatest phase of contact. The crescent sun is bright against a dark looking sky, and is surrounded by singular radiations of light, assuming almost' the shape of a cross. Some foreground objects loom black and heavy against the sky, and give force to the picture. o- Uo Correspondents, C. C.—We have not found any injurious effect from the use of water contain ing traces of carbonate of lime. If present in large quantity a film of carbonate of silver is sometimes formed on the surface of the print when washing before toning. This may be removed by sponging. 2. The bath of acetate of soda and gold should be made 24 hours before use. 3. Sutton’s calcio-chloride of gold has been in the market for several months, how long we are uncertain. It is to be had of Bailey and Son, of Wolver hampton. D. G. Sutton.—The colour of the interior of a glass studio is somewhat a matter of taste. Any quiet agreeable neutral colour may be used. 2. From your description the negative collodion has become insensitive through age, which has caused decomposition. It is not a usual circum stance with the collodion of the maker you name. Probably he could give you some explanation. When once collodion becomes insensitive through age there is no efficient remedy. Adding a little of a bromide will some times effect a little improvement, however. Sometimes you may mix such a sample off with a more sensitive sample with advantage. E. E.—Of the two lenses you name, a half-plate and a No. 2 B of the same maker, the latter is more suitable for cards than the other. The half-plate will take excellent cards, but will require a longer room and will not be so rapid as the No. 2 B. You cannot do better than use the latter. D. Duncan.—We arc always anxious, of course, to obtain the details of successful formula} for publication. But where there is a specific reason for not publishing we always respect any confidence reposed in us ; we shall, therefore, have pleasure in receiving the information either for private use or for publication as you may decide. We think Schering’s paper is prepared either with zinc white (oxide of zinc), or mineral white (sulphate of baryta). An Amateur.—Shellac varnish is made by dissolving the resin in wood naptha or alcohol. It may be applied with a brush. 2. We have no information as to when Mr. Keene’s work on “Rapid Dry Collodion Process” will be ready. Major Russell’s new edition is, we understand, in the press, and will shortly be published. We have no information as to when the English translation of Dr. Monckhoven’s manual will be ready. 3. Where you send for the catalogue of any firm, enclosing stamps for postage, and do not receive a reply, we presume the matter has been overlooked, or possibly the catalogue is reprinting. 4. You may use the shellac varnish for the inside of a wooden bath. 5. The best cement for glass vessels to be used in photography is marine glue. G. If your nitrate of silver solution has become discoloured by standing in the light, it indicates the presence of some foreign matter. Let it stand in the sun a few hours and then filter, when it will probably be all right. R. G.—We are glad you have found the iron intensifier so efficient; and also that you are so busy and successful. We do not know of a printer at pre sent, but will bear the matter in mind. J. Anderton.—The difference in the colour of your negatives with the same collodion in two different baths arises doubtless from the old one contain ing some organic matter, whilst the other has none, and possibly too much nitric acid. It is possible also that the new one is not quite saturated with iodide of silver. A collodion richer in gun-cotton will give you a creamy film without interfering with rapidity. 2. The cause you mention readily accounts for the want of light in your glass room. 3. We do not know that either of the gentlemen you name could aid you much. You need not apologize or hesitate to apply to us for advice. If you send us an addressed envelope we can send you the address of some skilled portraitist. P. M.—Lake Price’s formula for a negative bath differs little from that gene ¬ rally in use : dissolve 1 ounce of nitrate of silver in 2 ounces of distilled water, and add 4 grains of iodide of potassium dissolved in a drachm of dis tilled water, and shake well. Then add 14 ounces of distilled water, and filter out any precipitate which is formed. Next add alcohol 2 drachms and sulphuric ether 1 drachm ; and make the solution very faintly acid with acetic acid. 2. Carbonate of lime is common chalk. J. Burgess.—Twelve grains of chloride of ammonium are more than are necessary to each ounce of albumen ; 8 or 10 are sufficient. 2. Diluting the albumen will give a less glossy surface ; it is a matter of taste as to which is best. 3. It is always best to use fresh eggs, but it entirely depends upon the state and temperature of the weather as to how long the albumen can be kept without absolute deterioration. 4. Extreme care in manipulation and practice alone will enable you to avoid air bubbles. 5. Judging from appearance, without actual trial, No. 1 is best of your samples. James Date.—We cannot account for the discrepancy of your experience in using the acetate bath, with that of others. We find no difficulty in keep ing it, nor in using it over and over. Some very first-rate photographers like it best when it has been used once or twice. The brown print appears to be scarcely toned at all. Try the lime formula. Hypo.—Some of your prints are good, but there is in many a tendency to flatness from the presence of too much front light. There is also in some a little want of sharpness. The printing is pretty good. F. Briggs.—The case you state certainly seems a preposterous and unreason able one. It seems incredible that the accumulated residues of nine months, consisting of two gallons of thick argentiferous “mud,” should only yield the value of Is 6d. in the precious metal. But we don’t see how we are to help you. If you mingle all your residues, containing fixing solutions together, bear in mind that common salt is not the material to precipitate them, but liver of sulphur. If you added hypo solutions to these residues, any chloride of silver present would be dissolved and washed away. In such case your “ mud” might contain very little silver. T. A.—The answer given to you by Mr. Crookes was based on the experience of Mr. Piazzi Smyth, which is not contradicted by any other evidence that we are aware of. Mr. Glaisher’s experiment has so far illustrated that there was less actinism at an altitude of three miles, but not that there was less light. We will, however, take an opportunity of submittingyour letters to him. His address is, Royal Observatory, Greenwich. MOSTON.—A considerable number of articles on photographic engraving have appeared in the Photographic News. We may mention Nos. 7, 15, 38, and 40, as containing interesting articles on this subject. A mixture of bitumen and bee’s-wax—the latter in small proportion—is used to resist acid. Bacup.—There are a number of excellent and cheap photographic manuals Bland and Co.’s Practical Photography, and our Almanac will equip you with information. Mr. Hughes’s Manual, of which a new edition is in the press, is very excellent. E.E.—Add common salt, until all the silver is thrown down, and then reduce it as described by Mr. England in our last. Or if you do not wish to obtain metallic silver from the solution, but merely solid nitrate, evaporate by gentle heat. II. Frere.—We have examined some samples from the firm you name, and found it very good, but we cannot state that it is all so. T.—Some back numbers of the Photographic News can be had, but some arc out of print. 2. A nitrate bath, of 50 or GO grains to the ounce, will give you a rich vigorous image, but unless it is very acid it is unmanage able, and apt to cause stains, &c. 3. If you tone in a diffused daylight, you do not peril the permanency of your prints, but you risk degrading the purity of the lights. 4. The only use of alcohol in the developer is to enable it to flow freely over the plate, when the bath is old—otherwise, it is better absent. 5. Old collodion baths should not be used for printing-- the prints are generally poor, and do not tone well; besides, 45 grains to the ounce is not strong enough. The prints cannot be very brilliant or goed. W. W.—Our pages abound with articles on the production of transparencies for the magic-lantern, &c. We may call your attention to two numbers in our last volume, giving details, viz., 188 and 208. Albumen plates give great force and crispness, but we have seen transparencies on Tannin plates, which were scarcely inferior, whilst the trouble of preparing them is much less. If you produce transparencies by the wet process, the simplest method of changing the colour to black is to treat them first with bichloride of mercury, and, after washing, apply a weak solution of ammonia. 2. A thin, highly-albumenized paper is best for cards. See our Almanac, for various toning solutions, with the characteristic qualities of each. Verax.—a silver solution is not weakened by standing in an open vessel; sometimes, indeed, it becomes stronger, by the evaporation of the water ; but the plan is a slovenly one, as the solution must become contaminated by dust, &c. The best plan is to use the silver meter from time to time to test the strength. A little colour in the printing bath does no harm, but it is better to keep it clean by adding now and then a few drops of a solution of salt, and shaking. If a print remain 10 minutes in a toning bath with out any change of colour the bath must be very inert indeed. Prints should be rinsed after toning before passing into the hypo bath. The time required for fixing is generally 15 or 20 minutes. Several Correspondents in our next. hotographs Zirgisterc during the Past elZAeekt. Mr. A. S. Watson, 2, Regent Road, Great Yarmouth, Two Photographs of Rev. — Campbell, Two Photographs of Percy Rosell. Mr. Josiah Groom, Wyle Cop, Shrewsbury, Photograph of W. J. Clement, Esq., Mayor of Shrewsbury, Two Photographs of Lord Hill, Photograph of Rev. James Jardine Rogerson, M.A., Photograph of Rev. Chas. Edward Leopold Wightman, M.A., Photograph of Mrs. Julia Wightman. Mr. Augustus Edwin Scales, Hartlepool, Photograph of St. Hilda Church, Hartlepool. Messrs. W. and D. Downey, 9, Eldon Square, Newcastle-on-Tyne, Photograph of Birkett Foster. Mr. William Harding Warner, Ross, Herefordshire, Photograph of Lieut. Rhind.