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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. 256, July 31, 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
Band 7.1863
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368 THE PHOTOGRAPHIC NEWS. [July 31,1863. the ink or composition, and the surface of the coating should be also “ grained ” after it has been laid on the surface of the stone. The process of “ graining ” is well understood, and, therefore, I need not describe the same. Before transferring the picture to the stone, the surface thereof should be moist ened with water, and it should be used in the press in a cold state, and not heated, as is frequently the ease in ordinary litho graphic printing. I have not detailed the optical arrangements for primarily obtaining the pictures or images, as such arrangements do not form any part of my said invention. Having thus fully described and ascertained the nature of my said invention, and also the manner in which it is to be performed, I would observe in conclusion that what I consider novel and original, and therefore claim as constituting my said invention, are:— Firstly, the production of photographic pictures or images by means of the sensitized ink or composition hereinbefore men tioned, or any sensitized ink or composition analogous or equi valent hereto, in the manner hereinbefore substantially set forth and described. Secondly, the methods of transferring the photographic pic tures or images so produced as aforetaid to the surfaces of such substances as hereinbefore particularly mentioned, and of printing from such surfaces as are adapted for such operation, as here inbefore substantially set forth and described. And thirdly, the methods of preparing the several materials employed in the process aforesaid, as and for the purposes hereinbefore set forth and described. DOINGS OF THE SUNBEAM* We have copied a picture, but we can take a portrait from Nature just as easily, except for a little more trouble in adjust ing the position and managing the light. So easy is it to reproduce the faces that we love to look upon; so simple is that marvellous work by which we preserve the first smile of infancy and the last look of age: the most precious gift Art ever bestowed upon love and friendship! It will be observed that the glass plate, covered with its film of collodion, was removed directly from the nitrate of silver bath to the camera, so as to be exposed to its image while still wet. It is obvious that this process is one that can hardly be performed conveniently at a distance from the artist’s place of work. Solutions of nitrate of silver are not carried about and decanted into baths and back again into bottles without track ing their path on persons and things. The photophobia of the “ sensitized ” plate, of course, requires a dark apartment of some kind: commonly a folding tent is made to answer the purpose in photographic excursions. It becomes, therefore, a serious matter to transport all that is required to make a nega tive according to the method described. It has consequently been a great desideratum to find some way of preparing a sen sitive plate which could be dried and laid away, retaining its sensitive quality for days or weeks, until wanted. The artist would then have to take with him nothing but his camera and his dry sensitive plates. After exposing these in the camera, they would be kept in dark boxes until he was ready to develop them at leisure on returning to his atelier. Many “ dry methods ” have been contrived, of which the tannin process is in most favour. The plate, after being “ sen- sitized ” and washed, is plunged in a bath containing ten grains of tannin to an ounce of water. It is then dried, and may be kept for a long time without losing its sensitive quality. It is placed dry in the camera, and developed by wetting it and then pouring over it a mixture of pyrogallic acid and the solution of nitrate of silver. Amateurs find this the best way for taking scenery, and produce admirable pictures by it, as we shall men tion by-and-by. In our former articles wo have spoken principally of stereo scopic pictures. These are still our chief favourites for scenery, for architectural objects, for almost everything but portraits,— and even these last acquire a reality in the stereoscope which they can get in no other way. In this third photographic excursion we must only touch briefly upon the stereograph. Yet we have something to add to what we said before on this topic. One of the most interesting accessions to our collection is a * Continued from page 356 series of twelve views on glass, of scenes and objects in Cali fornia, sent us with unprovoked liberality by the artist, Mr. Watkins. As specimens of art they are admirable, and some of the subjects arc among the most interesting to be found in the whole realm of Nature. Thus, the great tree, the “Grizzly Giant,” of Mariposa, is shown in two admirable views; the mighty precipice of El Capitan, more than three thousand feet in precipitous height,—the three conical hill-tops of Yo Semite, taken, not as they soar into the atmosphere, but as they are reflected in the calm waters below,—these, and others, are shown, clear, yet soft, vigorous in the foreground, delicately distinct in the distance, in a perfection of art which compares with the finest European work. The “ London Stereoscopic Company ” has produced some very beautiful paper stereographs, very dear, but worth their cost, of the Great Exhibition. There is one view, which we are fortunate enough to possess, that is a marvel of living detail,—one of the series showing the opening ceremonies. The picture gives principally the musicians. By careful counting, we find there are six hundred faces to the square inch in the more crowded portion of the scene which the view embraces,—a part occupied by the female singers. These singers are all clad in white, and packed with great compression of crinoline,—if that, indeed, were worn on the occasion. Mere points as their faces seem to the naked eye, the stereoscope, and, still more, a strong magnifier, shows them with their mouths all open as they join in the chorus, and with such distinctness that some of them might readily be recognized by those familiar with their aspect. This, it is to be remembered, is not a re duced stereograph for the microscope, but a common one, taken as we see them taken constantly. We find in the same series several very good views of Gibson’s famous coloured “ Venus,” a lady with a pleasant face and a very pretty pair of shoulders. But the grand “Cleopatra ” of our countryman, Mr. Story, of which wo have heard so much, was not to be had—why not, we cannot say, for a stereo graph of it would have had an immense success in America, and, doubtless, everywhere. The London Stereoscopic Company has also furnished us with views of Paris, many of them instantaneous, far in advance of the earlier ones of Parisian origin. Our darling little church of St. Etienne du Mont, for instance, with its staircase and screen of stone embroidery, its carved oaken pulpit borne on the back of a carved oaken Samson, its old monuments, its stained windows, is brought back to us in all its minute detail as we remember it in many a visit made on our way back from the morning’s work at La Pitie to the late breakfast at the Cafe Procopc. Some of the instantaneous views are of great perfection, and carry us fairly upon the Boulevards as Mr. Anthony transports us to Broadway. With the exception of this series, we have found very few new stereoscopic pictures in the market for the last year or two. This is not so much owing to the increased expense of importing foreign views as to the greater popularity of card portraits, which, as everybody knows, have become the social currency, the sentimental “ green backs ” of civilization, within a very recent period. We, who have exhausted our terms of admiration in describ ing the stereoscopic picture, will not quarrel with the common taste which prefers card-portrait. The last is the cheapest, the most portable, requires no machine to look at it with, can bo seen by several persons at the same time—in short, has all the popular elements. Many care little for the wonders of the world brought before their eyes by the stereoscope; all love to see the faces of their friends. Jonathan does not think a great deal of the Venus of Milo, but falls into raptures over a card portrait of his Jerusha. So far from finding fault with him, we rejoice rather that his affections, and those of average mor tality, are better developed than their taste; and lost, as we sometimes are, in contemplation of the shadowy masks of ugli ness which hang in the frames of the photographers, ns the skins of beasts are stretched upon tanners’ fences, we still feel grateful, when we remember the days of itinerant portrait painters, that the indignities of Nature are no longer intensified by the outrages of Art. The sitters who throng the photographer’s establishment are a curious study. They are of all ages, from the babe in arms to the old wrinkled patriarchs and dames whoso smiles have as many furrows as an ancient elm has rings that count its sum mers. The sun is a Rembrandt in his way, and loves to trac all the lines in these old splintered faces. A photograph of one of thorn is like one of those fossilized sea-beaches whore tho
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