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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
- Lizenz-/Rechtehinweis
- Public Domain Mark 1.0
- URN
- urn:nbn:de:bsz:14-db-id1780948042-186300004
- PURL
- http://digital.slub-dresden.de/id1780948042-18630000
- OAI-Identifier
- oai:de:slub-dresden:db:id-1780948042-18630000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Parlamentsperiode
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- Wahlperiode
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- Bandzählung
- No. 258, August 14, 1863
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
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- Wahlperiode
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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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- Titel
- The photographic news
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394 THE PHOTOGRAPHIC NEWS. [August 14,1863' 1. The suppression of tripoli, rotten stone, &c., in cleaning glass plates. These powders are advantageously superseded by a simple roll of china paper moistened with alcohol. 2. A small, simple, and convenient apparatus to hold the plates while being cleaned. 3. The complete restoration of the decomposed silver baths by the conversion of the nitrate of silver into bi-carbonate of silver, precipitated and re-dissolved without excess by nitric acid. 4. Direct positives upon thin iron plates, covered with Japanese varnish (Chinese lacquer), serving admirably for medallions, as these plates may be cut with chisels, and may be sent conveniently in a letter. These proofs have great delicacy, and are easily finished in a few minutes. The process is the same as for positives on glass. 5. Negative developing baths, giving also, immediately, the desired intensity without crude or harsh tones. This re agent, on the contrary, gives great delicacy, and renders the model very vigorously. It is obtained in the following manner:— Dissolve together Sulphate of protoxide of iron ... 1 ounce Nitrate of Potassia } ounce In Rain or river water 14 ounces Add Pyroligneous acid 1 ounce Alcohol, at 32° ... ... ... } ounce Silver bath solution, at 10 per cent. I ounce Filter. The collodion must be appropriate by being iodized with the re-agent indicated. 6. Toning proofs on albumenized paper with neutral salts of gold. Solution No. 1. Distilled water 20 ounces Chloride of gold 30 grains. Solution No. 2. Distilled water 20 ounces Bicarbonate of soda 120 grains. Into ten ounces of distilled water put one ounce of the solu tion No. 1, and one ounce of solution No. 2. The proofs previously washed are immersed in this bath, and allowed to remain until they have acquired a blue-black colour, which takes place in four or five minutes upon moving the proof about in the bath ; the toning being stopped by washing, the proof is washed and fixed in new plain hyposulphite of soda. 7. Toning with nitrate of uranium. Solution No. 1. Chloride of gold ... ... ... 15 grains Distilled water 2 ounces. Neutralize with bicarbonate of soda. Solution No. 2. Acetate of soda 100 grains Water 32 ounces. Solution No. 3. Nitrate of uranium 15 grains Distilled water 2 ounces. Neutralize with bicarbonate of soda. Mix and filter. The proofs treated in these toning baths have remarkable vigour and warmth of tone. Transfer the proof to waxed paper, or, which is better, coat it with a solution of caoutchouc ; the proof finished and dried as though it were to remain upon the glass, is easily detached by a solution of Alcohol (32°) ... ... ... 1 ounce Nitric acid 10 drops, which is left in the picture for about one or two minutes. 8. Photographic paper of extreme sensibility for direct enlarged portraits upon chloride of silver, is obtained by a bath of acidulated ammonio-nitrate. The proofs are toned and fixed, and possess remarkable vigour. 9. A simplified and improved solar instrument, without reflector, which permits of the printing of proofs of very large dimensions, with perfect sharpness, and in a space of time one-fourth of that required by the French megascope. The instrument consists of a wooden box mounted upon a turning support, which permits of our continually keeping tne sun upon the concentrating lens which projects the beam of light upon the negative, to afterwards design the picture upon the sensitized paper, which is at the end of the appa ratus. AN ENGLISH AMATEUR’S GLANCE AT FRENCH PHOTOGRAPHY. Sin,—Arrived in Paris, my first visit was to the Quai de l'Horloge, the local habitation of most of the Parisian opticians, not forgetting Mons. Chevalier, I think in the Quai or Rue des Orfeores, and who most kindly directed and helped me to discover the whereabouts of one or two parties engaged in mounting choice microscropic objects. Curiously enough, the hotel to which I was bound was the Brittanique, the same at which you stopped ; and I must say that I was well and reasonably treated. Never did a day pass by but I scrutinised the photographic productions, and cannot say that in all the length or breadth of the city did I see any downright bad pictures, or any touting abominations as I fear are too rife here. The even goodness struck me most forcibly ; the large whole and half plate pictures seemed remarkably good, and the absence in the small carte de visite pictures of the multitudinous accessories here employed, but which were filled up by skill in posing, no one could pass unnoticed. Another fact appeared to bo that the figures on the carte de visite were smaller than with us, and 1 also noticed that they appear to repudiate the use of very highly albumenized paper. This latter, I think, is a great step; since my return I have pointed it out to many of my photo graphic friends, and have obtained a supply of Marion’s paper, which seems identical to that used in Paris, and with the phosphate of soda formula— Soda phosphate ... ... ... 2 grs. Chloride of gold ... 1 gr. Water 8 ozs. —the best pictures they have ever turned out have resulted. Do you know how the peculiar pinkish hue (nothing allied to red) is obtained; several arc shown, and very pleasing they were? Already do I see that you have anticipated all I could say as to the pictures by Disderi, Numa Blanc, Ken, Petit. &c., and your lucid description of how the photographic sculpture statuettes which I saw at Bisson Freres’ in, I think, the Quai d’ Orsai, has done away with the apparent difficulty of chiselling by light. As the science, however, has arisen with M. Willeme, who must be a first class sculptor, and in whom the fact of making the resemblance lies, think you that the art will become general ? Of course the Louvre must be seen, and here I saw an easel, the principle of which might be adapted to our wants as regards something suitable where copying is requsite. I am somewhat rough as a draughsman, but here it is, such as it is. E E are two upright posts with broad wooden bases. At A and 1) two cross bars are fixed at either end into the aforesaid uprights, between the cross pieces A and D, and in the uprights, a groove (a la guillotine) is made in which works a sliding bar, B, which at the back has a staple through which passes a cord knotted at X. At A is a ratchet wheel and catch, round which goes the other end of the cord of course ; on B there
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