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The photographic news
- Bandzählung
- 7.1863
- Erscheinungsdatum
- 1863
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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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- Bandzählung
- No. 248, June 5, 1863
- Digitalisat
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Zeitschrift
The photographic news
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Band
Band 7.1863
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- Titelblatt Titelblatt -
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- Register Index 619
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Band 7.1863
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266 of getting a bath ready for immediate use. Perhaps the best formula, as deduced from the experiments and confirmed by our own practice, stands thus :— Chloride of gold 1 grain. Carbonate of lime from 3 to ... figrains. ♦ Chloride of lime ... ... ... 3 „ Water 6 ounces. This, if made with hot water, may be used soon after mixing, and will also keep. Whenever a bath was required for immediate use, it was found that heat was a substitute for time, and a bath which, if made with cold water, might require some hours or even days to attain its proper condition, might, by the aid of boiling water, be made to work well, in a few minutes sometimes, and in an hour or two always. It may be fairly assumed that where heat is used the keeping powers of the bath will be impaired, but we cannot speak with certainty as to this being universally so. A singular point in regard to the keeping of gold solutions may be mentioned, namely, that in solutions which, if mixed and left without using would decompose and precipitate, the gold became stable if used for toning a few prints and then kept. The acetate bath, which is generally stable, was, with the especial sample of the chemicals in hand in Mr. Hughes’s establishment, in the habit of decomposing soon after it was made, unless a few prints were toned at once. It then kept perfectly. The general results we have described are deduced from the whole of each series of experiments, and it is interestingto state that without the slightest collusion or consultation between the experimentalists, the conclusions suggested by each were perfectly in harmony, the lime bath we have described giving the best results in each series, and we have since confirmed it by independent experiment. We may here mention one point in which our own experience is at variance with the results at Ryde, in reference to the proportion of carbonate of soda necessary to produce good results. We found, with the sample of chloride of gold we are using, that with two grains of bi-carbonate of soda and one grain of chloride of gold mixed in six ounces of hot water, and then two grains of chloride of lime added, a bath may be made which gives excellent results within an hour, and does not decompose in the course of a few days. Our readers will distinctly understand that all remarks here have had reference to black tones. To those who prefer the warm and rosy purples we can recommend nothing which surpasses the bath of acetate of soda and chloride of gold. One word of caution as to the use of chloride of lime. It must never be used in excess. For whilst the presence of free chlorine is necessary to toning, mealiness is the inevitable result of excess. Wherever silver in a state of fine subdivision is brought in contact with a bath containing either hydrochloric acid or free chlorine, the silver will be attacked, and mealiness will be the result. We feel satisfied that this is the chief cause if not the only cause of mealiness. To be perfectly satisfied, make a strong solution of chloride of lime, and in it immerse an unfixed and untoned print. The experiment is worth trying and will be suggestive and instructive. Critical Jlotices, ADJUTOR. A Monthly publication of Photographic Studies from Nature. Photographed by BEUNELLIER and Fischer. London ; L. Birnstingl and Co. Wb welcome this publication with much pleasure as well intended and giving promise of good execution. Its aim is to extend the usefulness of photography as an aid to art. It is to be a helper, and hence, we presume, its somewhat odd title. An extract from the preface—which is given in English, French, German, and Italian, indicating the universality of its aim—will perhaps best explain the intended scope and purpose. We wish to furnish artists not with subjects for composition, but merely with studies from Nature, comprising poses, animals, flowers, prints, landscapes and perspectives. We shall also delineate still life, antique and modern furniture, draperies in different materials, &c.; in short, we have resolved to publish all that photography can represent, which may be useful to the artist, and thus furnish him with a faithful copy of the original under the different aspects of light and shade. If we admit tiiat photography is a faithful agent in the fullest acceptation of the term, it is easy to perceive how valuable our publication will become to the artist, as it will enable him to have at his command different objects, of which he can take advantage either to alter, modify, combine, or even copy, according to his pleasure ; or by comparing one study with another, he will be able to introduce whatever may appear most suitable to his subject. The first number before us contains five studies, the size being about 8 by G, mounted on plate-paper about 16 by 12, with india-tinted margin. The subjects include two, or rather three, life studies, and two studies of still life. The life studies comprise a fine picture of a graceful girl well posed, and photographed with much delicaoy. A male figure, nude from the waist upwards, with a fine head and chest, the arms illustrating great muscular action, the expression being in perfect keeping. This is a very fine photograph^-the best of the series. A cow and land scape are a little wanting in vigour. The still-life studies consist of a portion of a drawing-room interior and a group of fish, &c. The photography is generally very good, and the subjects well chosen and arranged with great artistic feeling. In some cases, perhaps more might have been desired of the lenses. In the interior, for instance, we are struck with its fragmentary character com pared with those which Mr. Hughes recently obtained of the bridal apartments at Osborne, in which, by the use of a lens embracing a wide angle, portions of three sides of a room are obtained and well defined, without distortion. Altogether, however, Adjutor promises well. There is ample room for such a publication, and we shall look for its further successful carrying out with interest. THE UNIVERSAL TEXT BOOK OF PHOTOGRAPHY. Instructions, Hints, Formula, and useful information on the various Photographic Processes, &c., with a chapter on the sthetics of Photography, from the French of M. Dis- deri. Leeds : Harvey, Reynolds, and Fowler. This is rather a text book than a manual for beginners, although it devotes a few pages to preliminary instructions. The aim of the compiler has manifestly been to secure com prehensiveness, almost every branch of photography receiv ing more or less attention. For the young student we should almost fear an embarras de. richcsses which might bewilder him ; the more so that in the aim to include every thing, scarcely sufficient care has been given to the construc tion and arrangement of the book. It is somewhat like a well-filled carpet bag, full of valuable matter, but in a somewhat crushed and mixed condition. Photographers of an experimental turn of mind will revel in such a book, as it is full of varied receipts, many of which are very good. In addition to an immense mass of matter on processes, there is a very interesting chapter on the msthetics of photography, from the French of M. Disderi, some portion of which we shall, when we have space for the purpose, transfer to our pages. We can recommend the “ Universal Text Book of Photography" as an exceedingly cheap shilling’s-worth of matter. A SIMPLE AND PRACTICAL GUIDE TO PHOTO GRAPHY. By Jonathan Fallowfield; edited by W. Hunt Lee: South London Photographic Depot, Lambeth. 1 ms little work appeal's to be really an introduction to a catalogue of photographic chemicals and apparatus, and con sists of less than a score of widely- printed pages. The system of adding a few instructive pages to the trade catalogue is
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