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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
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
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- Public Domain Mark 1.0
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- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 277, December 24, 1863
- Digitalisat
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Zeitschrift
The photographic news
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Band 7.1863
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- Register Index 619
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Band
Band 7.1863
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December 24, 1863.] THE PHOTOGRAPHIC NEWS. 617 Gorrespondente. THE ALLEGED EARLA PHOTOGRAPHS. Sir,—Respecting Mr. James Watt’s progress in photo graphy, I find an extract in the Mechanics' Magazine, August 30th, 1823. First article, 1st No. and 1st vol., which may be interesting to your readers. In a “ Memoir of James Watt,” the writer quotes the words of “ One who knew him well,” and continues :—“ After the year 1817, he applied himself,'with all the ardour of early life, to the invention of a machine for copying sculp ture and statuary, and exhibited his performance amongst his friends, as the production of a young artist just entering on his 83rd year.” It may be interesting to find who this authority is. The magazine gives no further trace. I take this opportunity of expressing my thanks for the information I have received from your very liberal and valuable journal. Since taking it, I have been quite an enthusiast in photo graphy.—I am, Sir, yours very respectfully, Joseph Podmore. Oxford, Dec. 21, 1863. ELECTRIC LIGHT FOR PORTRAITURE. Dear Sir,—Mr. Busch has somewhat misunderstood me in supposing that I had, in my experiments with artificial light for photographic portraiture, used a Ruhmkorff’s coil; indeed, at that time it had not been invented. In a some what extended scries of experiments, undertaken at a time when the Daguerreotype process was the only method used for photographic portraits, I tried many forms of artificial light, amongst which were the electric light, the Bengal light, the Drummond light, and others, but in no case with perfectly satisfactory results. The electric light was most actinic, but was too intense and concentrated, and produced the usual result of an intensely brilliant direct light; it gave chalky lights and heavy black shadows, and by ren dering it impossible for the sitter to sit with open eyes, was destructive of expression. With the less intense lights the difficulties were lessened, but the exposure was more pro longed, rendering them unsuitable for portraiture. Amongst the various experiments tried was the natural one of using screens for diffusing and reflecting the light, which effected some improvement; but the final issue of my expe riments at that time was decidedly unfavourable to the employment of any artificial light for photographic por traiture.—Yours, dear sir, very truly, T. R. Williams. 236, Regent Street, Dec. 21, 1863. THE TANNIN PROCESS : IS IT SLOW OR RAPID ? Dear Sir,—Mr. T. Hurst, by his able and intelligent comparison of the tannin process, as practised by “ G. W. 0.” and myself, has anticipated the remarks I intended making on this interesting subject. 1 will here add a few more details of my method of work ing, as it is only by careful comparisons of facts that it is possible to arrive at more correct conclusions respecting the capabilities of this beautiful and simple process. I am unable to supply any information as to the amount of bromide con tained in the sample of collodion I employed ; I believe it to be considerable ; in fact, the bromide ought to be in as large a proportion as possible, consistent with easy and quick manipulation, plain bromized collodion being rather too slow in getting thoroughly decomposed in the nitrate bath, to quite please me. My bath was the usual 35-grain one, containing 15 drops of nitric acid (sp. gr. 1’300), in 40 ounces of solution ; at the time of using it, it had had about 60 half-plates sensitized in it. As you will easily perceive, this was very acid, but as I found a neutral bath gave me rather foggy plates, I preferred keeping on the safe side, especially as I did not find any appreciable loss of sensitiveness occasioned by this degree of acidity. It is my impression that the plates are more sensitive when the tannin solution has remained on the film for some little time; some plates prepared in my usual way, but simply coated four times with fresh tannin, were very slow, and gave fog and stains in the lower part; those on which the tannin solution remained for 2 minutes, were clean, but certainly not so quick as those coated for five minutes or more. When my time permits, 1 intend trying the effects of an iron developer, of course taking care to wash off all the tannin, before developing, with plenty of water or dilute alcohol. Perhaps also the process could be reversed, so to speak, a plate being coated with collodion containing nitrate of silver, dipping it in a solution of iodide and bromide, washing and coating with tannin. This might be found to have some advantage in the greater rapidity of preparation, as the adhering weak solution of iodide and bromide could be more easily washed off than the nitrate of silver. They would perhaps be very susceptible to the actinic influence; the plates would thus be “ sensitized ” by the tannin which it is said, “ renders them as sensitive as by nitrate of silver.” For the present, however, I am well content with the tannin process, pure et simple. In conclusion, I am glad to say that my experience enables me to endorse fully Mr. Hurst’s remarks and summing up.—Believe me to be, dear sir, yours very truly and obliged, II. 0. JESNIxaS, junr. London, Dec. 22. ‘SOUTHWELL v. ORDISH. Sir,—In your Journal of yesterday’s date, you refer to the above case, recently heard before Aiderman Carter, and remark “ that the decision given is, not unnaturally, very unsatisfactory to the plaintiffs,” &c., &c. It struck me on reading a report of the case in the Daily Telegraph, that no evidence was offered before the magis trate showing that the Messrs. Southwell had reserved to themselves the copyright of the photographs in question by agreement in writing signed at or before the time of such sale or disposition by the vendee, <tc., &C., in accordance with the provisions of the 25th and 26th of Victoria, cap. 68, sec. 1. It was stated that Messrs. Southwell claimed the copyrights of the portraits of Miss Thompson and another because they took them from the living originals. I need not remark to you that this, per se, will not meet the requirements of the Copyright Act. If A. B. is paid for taking the photograph of C. D. in the absence of the written agreement referred to in the Copy right Act, no right of property in such photograph can be legally claimed by A. B.—Yours obediently, An AMATEUR, December Wth, 1864. [The first section of the Act is somewhat obscurely worded; but, if we understand it rightly, no agreement or signature is required where the artist takes the picture for himself. It is then his, and if he register it, no one may copy it without his permission. If, as our correspondent remarks, A. B. were paid for taking the portrait of C. D., then, in the absence of an agreement, no copyright would be obtained by either party. But, in the case in question, C. D. does not pay A. B., but sits for A. B. at his request, and for his purpose: in some cases C. D. is really paid by A. B, for the sittings. In such case we have no doubt the copyright is legally vested in the author of the work, and no agree ment is required until he sell a negative. See the Act, first section, “ Provided that when any painting or draw ing, or the negative of any photograph shall be for the first time after the passing of this Act sold or disposed of,” &c.—Ed.]
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