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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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- http://digital.slub-dresden.de/id1780948042-18630000
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- Bandzählung
- No. 255, July 24, 1863
- Digitalisat
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Zeitschrift
The photographic news
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Band
Band 7.1863
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- Register Index 619
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Band 7.1863
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after preparation. The present state of things being chronic, what should the photographer do? The reply, we believe, ought to be made as follows. Render your toning baths more or less alkaline by increas ing or diminishing the alkaline substance according as you may judge suitable for the paper you possess. To be able to determine the proportions, the operator must resign himself to the task of testing a supply of paper, and obtain from the manufacturer and preparer a ream of paper, the pulp of which is identical, and the preparation of which has Brought it, from time, to its normal state. A ream of paper may be supplied so that the first sheet will be in exactly the same conditions as the last. The preparer, in albumenizing it, cannot deliver it to us in analogous conditions. He can supply a series of sheets exactly the same ; but the first series will differ so much the more from the last in proportion as he has waited longer to restore his bath to its original position. With manufacturers, an operation is performed which is the primary cause of all our vexation with respect to the paper; this operation is the triage. Five, ten, or fifteen women, according to the extent of the factory, are charged with removing the sheets of paper to the drying room to put them into piles and form reams. One of the women turns first to the right and then to the left, piling and form ing a ream of entirely different elements. A similar opera tion at the preparers still further removes the homogeniety that first existed. One cause of failure most often to be dreaded is the yellow tint of the paper in the whites of the proof. It proceeds from various causes, one of which is the solarization of the paper before it is nitrated. M. Niepce’s experiments have shown us the storing up of the luminous rays, their retention and activity still existing after the lapse of several months. It is this solarization, so formidable in summer, which is the cause of those uniform yellow tints which the paper acquires before being put into the pressure-frame. Another solarization, less common, is that produced by the rays returned by solarized proofs placed in heaps when none are fixed. The nitrate baths, under the influence of organic bodies, also acquire an activity capable of yellowing the papers, and without apparent cause, they come out of the bath yellow in proportion to the activity of the cause. Albuminous papers, either old or of bad quality, also acquire the property of yellowing, without our being able to trace the cause exactly. Probably, it is the state of the albumen, or of the pulp of the paper employed in its prepa ration, which causes this inconvenience. Washing too many proofs in too small a quantity of water, or too prolonged a washing, in a water impregnated with lime, will also cause a yellow tint. An impure silver bath, or one too strong or too weak, in fluences the desired tint. A negative too transparent, causing a too rapid solarization, gives also a grey proof in toning. An incomplete toning, marbled and not uniform, arising sometimes from too great a reduction in the strength of the silver bath, and from too short a time being allowed for the paper to remain in contact with the argentiferous solution. The same effects may be produced when a great many proofs, placed one upon another, are not wholly in contact with the toning bath : bubbles of air, imprisoned between the proofs, form spots less deep in tone than that of the remainder of the proof. This kind of failure may be avoided by placing each couple of proofs back to back, at the bottom of the bath. Some persons consider that the toning is assisted by not removing the excess of nitrate from the proof before toning, finding that it is of a better tint, and more beautiful. This observation is imperfect, for if this proof had been compared with the others alter leaving the hyposulphite, it would have been seen that this fine tint and rapid toning was not pre served, and that the proof was not equal to those which had been slightly washed before toning. Not to wash the proof is good, perhaps, for a bath the formula of which includes a substance which combines with the nitrate of the proof to aid the toning. This was the case with M. Legray’s bath, quoted above. We perceive that the causes of failure to the toning baths, without taking into account the spurious chloride of gold with which commerce is infected, for, most frequently, the chloride of gold is such only in name: it is either a chloride charged with hydrochloric acid entirely annulling the effect of the alkaline substance, which, with the chloride, composes the bath ; or it is a double chloride of gold and soda, or gold and hyposulphite of soda, &c.—Bulletin Beige de la Photographie. (To be continued.) A FEW WORDS IN FAVOUR OF AN OLD FRIEND. —THE MALT PROCESS. BY F. T. FASSITT.* I make the following communication with some degree of diffidence, fearing lest many of your readers will think that I am taking the back track in thus attempting to re-vivify comparatively an old process. I allude to the malt preserva tive of Mr. MacNair, as described by him in the Photograr phic Notes, 1860 ; but it is sometimes useful to glance retro spectively over the ground we have traversed, and by com paring our present modes of working with those we have discarded, see if in reality we have bettered ourselves. Always a friend of progress, I have tried all the preserva tives as they came forth, from the sticky abominations of honey, down through the whole category of Madam’s pre serves and jelly, until I reached the Fothergill; here I broke down and discarded the dry, and resolved to stand by the wet through thick and thin. However, upon the introduc tion of the malt process I was induced to give it a trial, and the result was so satisfactory that for over a year I worked nothing else, and I must say that during that time I pro duced the best negative I ever made. Upon the intro duction of tannin, I gave it a trial, and found the results good, but in no respect superior to the malt; however, as everyone went head over heels into it, I followed the example, and have worked it with varying success until this spring, when, in company of some of the best amateurs of our city, I took a photographic trip through the northern section of our state. The plates used on this occasion were prepared with the greatest care. Fortunately I took developing solu tions with me, and after the first day’s work, 1 tried to develop a plate to which I had given, as I thought, a long exposure, but succeeded in obtaining hardly a trace of the sky; of course 1 had to stand the bantering of my com panions upon the extreme sensitiveness of my plates. The next day, however, we increased the time of exposure, and in the evening I tried to develop some of my friends' plates, with the same result. Siccus, who was one of the party, suggested that I had neglected to put any pyro in the deve loping solution. Trusting that this might be the case, or that the pyro was at fault, we went on making long expo sures and trusting to our resources at home to bring out the latent image ; but alas ! upon our return we found we were all in the same condition, our plates so insensitive to the actinic influence that neither fuming, carbonate of ammonia, nor hot water were of any avail; and our trip, photogra phically considered, was a failure. We now commenced to hear complaints from other tannin workers, and found they were labouring under the same complaint. I now set to work to discover the cause. 1 changed my collodion and tannin; doctored the bath until everything was in first rate order, and made a few trial plates, and to my horror the result was the same. In my despair 1 made a visit to the lumber room, disinterred a large black box, for which at one time I had a great affection,—for you * A mcrican Journal.
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