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The photographic news
- Bandzählung
- 11.1867
- Erscheinungsdatum
- 1867
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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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- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 478, November 1, 1867
- Digitalisat
- SLUB Dresden
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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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- Register Index 623
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Band
Band 11.1867
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- Titel
- The photographic news
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THE PHOTOGRAPHIC NEWS. Vol. XI. No. 478.—November 1, 1867. CONTENTS. PAGE Preserving Prints by Means of Varnishes, etc 521 The Hot Water Process 522 Echoes of the Month. By an Old Photographer 624 Foreign Miscellanea 524 Something more on Lighting. By Valentine Blanchard 525 Recent Experiments with Collodion 526 On Iron Developers and Compounds Suitable for Employment with the same. By Julius Kruger, of Stralsund 527 p Notes on Herr Kruger’s Article on Iron Developers. By M. C. Haack 528 Lecture on Light 529 On a New Test for Hyposulphites. By M. Carey Lea • 530 Ferro-Colloidal Developers. By J. J. Brown 530 Scientific Gleanings 531 Correspondence—Soldering—Hints on the Magic Lantern 531 Talk in the Studio 532 To Correspondents 532 PRESERVING PRINTS BY MEANS OF VAR NISHES, ETC, So long as silver printing is practised the best means of preserving the photographs from the agencies which cause fading or discolouration in the print must continue a subject of abiding interest and of constantly renewed discussion. We speak of the means of preserving the finished print as quite distinct from the consideration of producing perma nent prints. Assuming that by perfect fixation, thorough washing, and careful manipulation throughout, a photograph has been produced which possesses no inherent elements of change, a silver print must necessarily be ranked amongst perishable articles. To the silversmith or dealer in silver goods it is a question of vital importance how he can best display his wares, and subject them least to the injurious action of injurious agencies present in the atmosphere, by which they are, to use a general phrase, “ tarnished.” The readiness with which silver is acted upon by sulphur and other agencies which discolour it induce the silversmith to devise costly air-tight cases, to use lamps outside of his shop window, &c., to afford the best possible protection to silver- goods. We recently heard of a case in which the principal of a large establishment devoted to the display of silver- goods entered into negociation with a view to the payment of a thousand pounds for the secret of a varnish which would protect the goods from the action of the atmosphere without injuring their appearance. The negociation was not com pleted ; but we mention the circumstance to show the impor tance which was attached to a means of protecting silver from the injurious agencies to which its unprotected surface is exposed. But, notwithstanding the recognition of these facts in the silver trade, there is nothing, perhaps, in tho shape of a work of art which receives so little care in its treatment by tire public, or so little pains to preserve or pro tect it, as a photograph. An engraving or a water-colour- drawing is carefully framed and glazed, or carefully preserved in a portfolio. The photograph often lies about loosely, is carried in the pocket, or, at most, is placed in an album with no especial means of protection. An engraving, a pencil drawing, a water-colour drawing, it is known, would rub, abrade, and soil with careless usage; but the simple circumstance that the photograph has generally a smooth albuminized surface which does not readily abrade or soil permits it to be thrown carelessly about, with, as we have said, less care to preserve or protect it than any other work of art. It is pretty generally felt amongst photographers that photographs ought to have some protective coating by which they may be rendered impervious to the destructive agencies to which we have referred. The great questions continually arise, which is the best mode of protecting prints ? which is the varnish that most effectually protects the prints, and at the least sacrifice of artistic beauty ? and, next, can it bo easily applied without great expense ? The question of trouble and expense should be quite subsidiary to the con siderations of permanency and beauty; but they must always enter into the estimate of the value of any plan for general use. The question of beauty we should be almost disposed to place first in the order of importance. If we had to secure permanency at the expense of vulgarizing or destroy ing the beauty of the print we should feel strongly disposed to encounter the risk on the score of permanency, and secure what we could of beauty for just so long as we could retain it. This feeling is, we believe, very common amongst photo graphers who aim at high art excellence: much as they desire permanency, they will not sacrifice an iota of beauty, or of what seems to them to be beauty. Hence a common objec tion has prevailed to varnished photographs as vulgar-look ing and inartistic. There are three modes of protecting prints by preservative applications with which photographers are familiar; namely, varnishing, waxing, and collodionizing, each of which has certain specific advantages. The general subject is proposed for discussion at the next meeting of the South London Society. Without entering into the matter fully here, therefore, we propose to offer a brief comment or two on each method in relation to the two important aspects in which each must be considered: its effects on the beauty, and its influence on the permanency, of the print. We will consider the question of varnishes first, the sub ject having been immediately brought under our attention by the following letter from Mr. Lucas : — “ 37, Wigmore Street, W., October 23rd, 1807. “ Sir,—My attention has been called to the report of tho South London meeting in your last week’s issue, where the preservation of prints by varnish came under discussion. Within the last week or so I have been making what few experiments the pressure of my business would allow, with Mr. Nash’s pure lac varnish, and have much pleasure in forwarding the results, which I trust may be of use to photographers. Mr. Nash gave me a bottle of his varnish with which to experiment, and in his presence I partially- varnished, on one side only, several mounted prints which had been in my folios for some time; one of these was a copy of a painting of a nude figure, ‘ Andromeda,’ selected more particularly on account of the extreme delicacy of the modelling, there being only the sufficient amount of shadow to give rotundity, without its in any part deepening to anything like black ; of course the slightest approach to fading would be at once detected in the half-tones of such a subject. One-third of this I varnished; Mr. Nash, at his house, treated another third of the same print with Blanchard’s solution; the remaining third was left un touched ; after which he subjected the whole to chlorine gas for five hours, and then submitted the print to me. The part
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