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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
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- Public Domain Mark 1.0
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- urn:nbn:de:bsz:14-db-id1780948042-186700008
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- http://digital.slub-dresden.de/id1780948042-18670000
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- oai:de:slub-dresden:db:id-1780948042-18670000
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- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Band
- Parlamentsperiode
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- Wahlperiode
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- Bandzählung
- No. 435, January 4, 1867
- 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 11.1867
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- Titelblatt Titelblatt I
- Sonstiges Preface III
- Ausgabe Ausgabe 1
- Ausgabe Ausgabe 13
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- Ausgabe Ausgabe 569
- Ausgabe Ausgabe 581
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- Ausgabe Ausgabe 605
- 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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10 THE PHOTOGRAPHIC NEWS. [January 4, 1867. may be carried for the supply of the small cistern before referred to as required, and is further provided with suitable arrangements for carrying the requisite tripods and other similar appliances. In order to meet those cases in which it may be necessary to dispense with the carriage, as i n ascending moun tainous passes and elsewhere, the upper part of the box, with the cover, flaps, trough or sink, and other necessary details, may be made capable of removal from the box or case, so as to be carried with the tent-cloth and other apparatus by poles or otherwise, and set upon portable legs, capable of being screwed or otherwise, attached to it. Gurrespondence, PHOTOGRAPHY IN GERMANY - . LEPTOGEAPMIO Paper—Magic Cioar Tube Photographs— Braun’s Swan’s Carbon Prints. Berlin, December Ibth, 1866. Wb have at length received the new miracle, the papier leptogropliiqtee, in its different forms of preparation. Some weeks ago we received specimens of prints from the paper which were very excellent, and we were very curious to try the new paper itself. Now we have tried it, and we are not satisfied of its quality. Our friend, Mr. Romain Talbot, who sent us the first specimens of the paper, wrote to say that he feared the paper would be altered by the transport, and I believe it is so. The paper was not, indeed, changed visibly; it was quite clear, white, and without spots; but its behaviour in printing and toning was quite at variance with the assertions of the Socit Leptographique. It required three times as long as ordinary albumen paper, and the pictur was without softness, though we used a very soft negative. A fortnight afterwards a specimen of the paper was changed wholly, and gave a picture which was quite useless. It is possible that the freshly-prepared paper is better ; but I do not believe that it keeps its qualities so long time as the Company asserts. I quite agree with you that it is a paper prepared with your collodio-chloride of silver. Another new miracle, a second edition of the magic photographs, you will have already seen in England ; it is the magic cigar tube; but I believe you do not know the origin of this curious invention. It is by the recent intro ducer of the magic photography, our countryman, M. Griine. With great amusement we have read in Germany the com munications on this novelty in the Jiritish Journal, from an unknown contributor of miscellanea. About three weeks ago he wrote on the subject: “We think we know the secret.” Eight days afterwards, however, he confessed that “ the whole phenomenon is very mysteriousbut in the meantime he noticed the fact that the image is developed by ammonia. From this fact it is very easy to guess the whole secret without any analysis, but the contributor in question did not guess it. He at last proved the substances of the image by a qualitative analysis, and stated, in a recent number of the British Journal, that “ some salt of mercury enters into its composition and he called on the readers “ to suggest to him, if they can, any photographic process in which a salt of mercury enters, and in which the invisible image is developed with ammonia.” I believe every chemist will have already guessed the secret, which is an old story. The photographic process “ in which a salt of mercury enters ” is the ordinary process for producing the magic photographs. Plunge a fixed and untoned silver print in chloride of mercury solution, and it will disappear, decomposing the solution and producing calomel (Hga Cl) and chloride of silver— Ag + 2Hg Cl = Ag Cl + Hga Cl. Therefore you have afterwards a white and invisible image, whose constituent parts are protochloride of mercury and chloride of silver. This picture will be developed by all chemicals which decompose the Hga Cl in producing a dark combination; for instance, the hyposulphite (as in the ordinary manner for developing magic photographs). Ammonia, the fumes of which produce, with Hg2 Cl, the black combination 2Hga Cl Ha N ; further, by liquid ammo nia, which produces the black salt Hga Cl Hga NHa, in its qualities very different from the first. Tako an ordinary magic photograph, and you can develop it in this manner, and also in many others. I hope the learned contributor will be now wholly satisfied. More interesting for the future of photography than this little play is the new application of the carbon printing process of Mr. Swan in the well-known printing establish ment of M. Braun in Dornach. I believe that this establish ment is the largest on the Continent. I have seen recently a carbon print from one of the excellent pantascopic views of M. Braun—taken by the Johnson apparatus—eighteen inches in size. The print was more perfect than I have ever seen produced by the silver printing process. M. Braun will apply the Swan process on a large scale for printing landscapes. At the same time he has edited a collection of photographic reproductions of old drawings—Raphael’s Lionardos, &c., in the Louvre Gallery, printed in the tint of the original drawing (red, brown, grey, &c.). I have seen some hundreds of prints in this manner in our Society of Art ; and all our artists are delighted with them. I hope to tell you more on the subject in the next.—Yours truly, Dr. H. Vogel. ASHTON’S PATENT. Sir,—I was under an impression, which I believe was by no means unreasonable, that in writing to you as I did, I might be able to draw a reply from Mr. Ashton that would tend to throw light on the subject of my claimed priority of use. It is with sincere regret that 1 discover, instead of a reply worthy of the plain statement of facts which I made, a mere conglomeration of personality and irrelevance. Mr. Ashton scarcely alludes to the matter at issue, con fining himself to disputing my right to speak of the writer of “Echoes of the Month ” as “talented,” and to describe his first letter as “ graphic.” But the most extraordinary part of all is the finish, in which he implies that if I claim priority of invention of his patent, I also claim to have pre ceded Mr. Woodbury in his patent. Mr. Ashton, in a former letter, expressly disclaims having made use of the invention of " his esteemed friend,” and yet says if I used his (Ashton’s) process years ago, I must claim priority over Mr. Woodbury. Surely, sir, contradiction can go no further. Throughout the matter, Mr. Ashton has succeeded admirably in puzzling people as to what he really does mean. Under these circumstances it only remains for me to thank you for giving up your space to what has proved so worthless an object, and one with which I have now finished. Samuel Fry. SMALL STUDIOS. Sir,—After what has been written on the subject of properly lighting studios, it may seem presumptuous in me to add anything more. My excuse, however, must be, that what has been written has been chiefly applicable to first-class studios ; whilst I write for country photographers, whose studios must be small. In a large and properly lighted studio, the sitter may be moved several feet without materially affecting the lighting ; but in a small studio such is not the case, and it therefore becomes of the utmost consequence where to place your sitter so as to secure the best result. Suppose the studio to be erected according to the best proportions given, and to be eight to ten feet wide, and eight feet to the eaves, with six feet over the sitter’s head without glass; and suppose the studio to bo only long enough to permit the model—viz., a tall gentleman—to be placed two to three feet from the background : the light will como to a focus about his hands or watch chain, and there
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