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The photographic news
- Bandzählung
- 11.1867
- Erscheinungsdatum
- 1867
- 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-id1780948042-186700008
- PURL
- http://digital.slub-dresden.de/id1780948042-18670000
- OAI
- oai:de:slub-dresden:db:id-1780948042-18670000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
- Strukturtyp
- Band
- Parlamentsperiode
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- Wahlperiode
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- Bandzählung
- No. 435, January 4, 1867
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
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Zeitschrift
The photographic news
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Band
Band 11.1867
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- Titelblatt Titelblatt I
- Sonstiges Preface III
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- Ausgabe Ausgabe 617
- Register Index 623
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Band
Band 11.1867
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- Titel
- The photographic news
- Autor
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JANUARY 4, 1867.] THE PHOTOGRAPHIC NEWS. 5 subject the nitrated paper to the action of ammoniacal vapour at the time of printing the enlargement, the vapour being liberated in a closed box at the back of the print, formed by fastening a board behind the frame on which the sensitized paper has been stretched. La Science pour tons mentions an ingenious contrivance, called the loxodrographe, which has recently been invented by a naval engineer, M. Corradi, for ascertaining a ship’s course during a voyage. In the binnacle, under the com pass, is fitted a clockwork arrangement, by which means a sheet of sensitive photographic paper is unrolled at a certain speed in the direction of the longitudinal axis of the vessel. The paper moves backwards horizontally under the needle. The upper dial of the mariner’s compass is, as is well known, a disc of card supported by a metal frame, on which the different points are marked ; and instead of the star, which indicates the north, a circular opening is made, furnished with a small lens. The light shining upon the compass penetrates through the lens, and traces a black mark or line on the moving sheet of sensitized paper. As the compass remains perfectly steady, and the lens is therefore always pointing to the north, while the sensitized paper turns with the axis of the ship at every deviation or’ alteration of the course, it is evident that the black line printed by the light on the photographic paper marks the direction taken by the ship. Thus, with very little trouble, an accurate record of the vessel’s course is obtained, and the precise angle made by the axis of the vessel with the meri dian can at any moment be readily ascertained. o ECHOES OF THE MONTH. BY AN OLD PHOTOGRAPIIER. Book Illustration—Photography v. Engraving—Photo lithography — Mr. Woodbury’s Machine — Ashton’s Patent —MrCno-PHTOTOSOULPTURE — Photo-bas-rblief — The Exhibition—Diffused Focus —• The Medals — Societies —The Year-Book. The echoes of the wild bells which ring out the old, ring in the new, year, alternated by the faintly dying echoes of the Christmas bells which, “ from hill to hill, answer each other in the mist,” mingle with the photographic echoes of the month, and remind me of the especial season of peace and goodwill rapidly passing away, but the memory of which should linger with us when the season has passed. Availing himself of the privilege of the season, “ An Old Photographer ” offers greetings and good wishes to all the photographers, old and young, who may be amongst his readers, and hopes that their shadows, one and all, may never be less. The application of photography to purposes of book illustration, and to the cheap multiplication of works of art, appears to have been considerably on the increase of late. I never remember to have seen so many Christmas books illustrated with photographs that have been intro duced to the public during the past month. I am sorry to say, however, that, as a general rule, such illustrations do not do much credit to our art. I am afraid that too commonly cheapness is a consideration which takes precedence of excellence with the projectors of such works. I know, of course, that a primary consideration with a pub lisher must of necessity be to make his works pay, and I do not endorse a certain old notion, which use 1 to be pre valent amongst certain classes, to the effect that publishers are harpies who grow fat at the expense of authors and artists; but I cannot help regretting, when I look upon many photographic illustrations, that some enterprising publisher does not give the process a fair chance, by securing the best work by the best men. I suppose it will be neces sary to wait until the difference between good and bad photography is fully appreciated, and by that time the carbon process will be in full swing, and we shall have good photography and permanent photography introduced for book illustration at the same time. Although I always stoutly maintain the value of photo graphy for purposes of art propagation, I must confess that there are times when I feel that something else might have been better. I prefer the engravings of Dore’s illustrations to “ Elaine,” to the photographs of the drawings ; and I should have preferred the engravings on wood to those executed on steel. It is very excellent at times to have the actual touch and manner of the artist reproduced as photography can reproduce them ; but at times it appears to me better to have the engraver’s translation than the artist’s original, heretical as such a notion may be. Dore’s illustrations cut on wood appear to have more force and character than the photographs of his drawings. The same remark appears true of the graphotype process; although the graphotype block gives the artist’s drawing without any intervening mind, it often strikes me that an intervening mind and band like that of Dalziel, or others like him, would have given value to the work for the mode of printing for which such work is designed. I fear that the argument upon which the foregoing re marks are based will, if it be true, always militate against the value of methods of photo-engraving, &c., as I believe, to obtain the highest results possible from any specific method, the touch of the skilled engraver, with a knowledge of technical requirements, will be necessary, at least where the most perfect effects are required. A process may be very faithful, but it does not possess intelligence or eclectic power, and will, in matters in which excellence is so de pendent upon technicalities, and upon a power of, as it were, humouring a design to suit the exigencies of the method, always came short. In saying this, however, I should advise your readers who have opportunity to see some examples of photolithography by M. Marie, at Marion’s, in Soho Square, which approach so nearly to the excellence of a silver print that, at the first glance, even connoisseurs might be deceived. I am glad to learn that Mr. Woodbury’s new machine promises to prove a complete success. It has, I understand, had the advantage of being constructed by a machinist of unusual ability, who was at the same time an amateur photographer, and who, therefore, readily appreciated the exactitude and delicacy Mr. Woodbury required. The great advantage of this machine is not simply that it will produce pictures at a much more rapid rate—twelve in a minute are spoken of—but I understand they will be still more perfect than those produced by his hand-worked press. It is a little puzzling to the outside world, after learning that the process is in all respects successful, to notice that so little progress appears to be made in getting the Com pany into active commercial operation. If the figures are correct, it ought to pay a handsome dividend upon all capital invested in it. Apropos of Mr. Woodbury’s process, a somewhat singular discussion seems to have arisen out of my remarks on the patent recently obtained by Mr. Ashton for colouring the pictures obtained by this process by means of chromo lithography. I said in the last “ Echoes ” that I thought the idea of such a mode of colouring the prints was originated by Mr. Woodbury. I may now state that I had so understood, because Mr. Woodbury had told me so. Mr. Ashton thinks that in making this remark I charged him with appropriating and patenting his friend’s idea. I made no sneh charge; associated as Mr. Ashton is with Mr. Woodbury in the Photo-Relief Company, it was the most natural thing to suppose that a perfect understanding subsisted between them as to the patent in question. As to which of the gentlemen the notion of applying this mode of colouring is due, it is scarcely a matter for dis cussion by other than themselves. The validity of the patent might possibly be more interesting to the public but as such points often puzzle patent agents, patent lawyers, and learned judges, my poor opinion cannot be o
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