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
• OAI: oai:de:slub-dresden:db:id-1780948042-18630000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

May 29, 1863.] THE PHOTOGRAPHIC NEWS. 263 furnace in a muffle, until it becomes a cherry-red colour- When cold, the coating of yellow ochre is removed, and the picture is found vitrified. IRON INTENSIFIERS. Dear Sir,—I fed confident that the method of intensifying with iron, recommended by Mr. Livesay in your last number, will bo found to be a great improvement on the plan of using the acid exclusively in the iron solution. On reading your article on Mr. Blanchard’s suggestion, I intended to have written to you, to recommend that part of the acid should be mixed with the iron, and part with the silver solution ; if there is a sufficient proportion of acid in the latter, it may, if required, be added freely without making a coarse granulated deposit, such as is produced by the addition of plain nitrate in too large amount for the acid contained in the iron solution.—Yours truly, C. Russell. May 25th, 1863. THE DOUBLE SULPHITE DEVELOPER. Sir,—I have read several times in the Photographic News the method of developing negatives with the double sulphate of iron, so that they will not require any after- strengthening with pyrogallic and silver. I have tried several of the formulas, arid was at first inclined to think there was no advantage in it,—at the same time thought that it might be possible to do something with it, as I found the negatives developed very clean and bright, but came out very slowly. I therefore made several trials, varying the strength of the double sulphate. My last trial was as follows Double sulphite of iron 120 grains, acetic acid, glacial, 20 drops, distilled water 1 oz. I find that it is quite manageable at this strength, as it develops quickly and free from stains, and any amount of density can 'be obtained in a very short time by continuing the development, without the least fear of fogging the plate, and no pyrogallic is needed. The exposure is also shortened at least one half from the old method with sulphate of iron and acetic acid, and then strengthening up with pyrogallic and silver. 1 he enclosed print is from a negative taken with the above formula, and the time of exposure was for each picture two seconds with Dallmeyer’s No. 2 B carte de visite lens, and No. 4 stop, which is about Z of an inch opening. This picture was toned with— Chloride of lime 5 grains Chloride of gold .. ... 2 „ Water . ... ... ... 20 ounces. This quantity will tone two sheets of albumenized paper. I find this developer admirably adapted for instantaneous views. I will shortly send you a few prints from negatives I have taken with this process. If you think this of any interest to your readers, you are at liberty to use it.—We are, sir, yours respectfully, Beckett and Willis. 32, St. Nicholas Cliffe, Scarhorouyh, May 19, 1863. [The prints received consist of eight card portraits of one person, each in a different position, on one large plate. Notwithstanding the large size of this plate, and the necessary lapse of time employed in posing the sitter eight different times, there is not the slightest stain, lack of brilliancy, or variation in quality, throughout the whole. Each one of the eight is a rich, brilliant, soft picture, well arranged and beautifully defined. I he tone is a rich, warm black.—Ed.] • Aqotograpbic Tlotes and (Queries, Toning Formula. Sir,—I shall bo much obliged if you will give mo your opinion, respecting the enclosed formula for toning bath, as I have never tried it. It runs thus :— Solution No. 1. Chloride of gold 15 grains Filtered water 20 fluid ozs. Solution No. 2. Phosphate of soda 12 drachms Distilled water 30 fluid ozs. Refined borax 3 drachms Warm the distilled water, and dissolve in it the phosphate of soda and the borax, then add by degrees the solution No. 1. Tho bath should be used slightly warm, and the prints must be watched, as they immediately take the desired tone ; they must then be fixed in a twenty per cent, solution of hyposulphite of soda. The prints must be thoroughly printed till they have al most a steely tone ; when removed from the frame they should be washed in a three per cent, solution of salt and water for ten minutes, then in ordinary water, and afterwards toned, and pro ceed as above. I do not understand what is meant by steely tone.—I am, sir, yours respectfully, G. CORT. [We have no doubt that a solution prepared as above will tone well, but will probably not keep. The term “ steely ” means, doubtless, very dark and with a metallic lustre.—Ev.] Toning Formula. Sir,—I send you a new toning bath, which seems to answer admirably—chloride of gold, one grain, chloriate potass, thirty grains, water, six or eight ounces. Take the prints from the frame, and immerse them in water, and from the water to the toning, i.e., don’t change the water. This bath works best when old.—Yours respectfully, PUBLICOLO. Sensitiveness of Sulpho-Cyanide of Silver to Light, Sir,—In your paper read at the meeting of the North London Photographic Society, you stated you had found the sulpho- cyanideof silver was not affected by the action of light—that being contrary to my previous experience, I tried it this morning. I precipitated some sulpho-cyanide by adding sulpho-cyanide of potassium to solution of neutral nitrate of silver; dissolved tho precipitate in ammonia, and crystallized it by evaporation, for tho sake of getting it pure. To a solution of ten grains in liquor ammome, I added one-half grain of nitrate of silver, and applied it by brushing to a piece of plain Saxe paper washed free from salt. The result was, it changed through various shades to a deep violet, in the course of about twenty minutes. Probably yours did not blacken from the absence of organic matter, which we know is essential in many instances. Yours, respectfully, John Ruddock. [In the experiment detailed you did not expose simple sulpho cyanide of silver to light, but that salt in combination with ammonia and nitrate of silver. Tho latter two agents applied to paper would have blacked without the presence of the sulpho cyanide, so that tho experiment proves nothing. If you refer again, however, to our paper, and to a note which accompanies it, you will find that wo state that sulpho-cyanide did darken slightly in sunlight, and it is quite possible that it would do so more energetically if exposed in combination with organic matter.—Ed.] Ealk in the Studio. Lectures on the PISTOLGRAPIT.—Mr. Skaife, who has opened a newstudio in Sussex Place, Regent’s Park, intends there to deliver a series of lectures on photography, especially in con nection with its minute phases, to which he has given especial attention. The first lecture was delivered on Monday, the 18th instant, the chair being taken by Sir David Brewster, who, with several other savans interested in photography, amongst whom were the Bishop of Tasmania, the Rev. J. B. Reade, Dr. Cronin, Dr. Purland, and others, was present. Mr. Skaife gave an interesting sketch of the origin of the pistolgraph and of his photographs of the firing of a mortar, its difficulties, dangers, and success. He also related an anecdote of his photo graphing, with his little instrument, Her Majesty as she was at full speed on her route to Wimbledon, and the risk incurred of being apprehended for an attempt to shoot tho Queen. Tho lecture was illustrated by specimens and demonstrative experi ments.