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
• 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: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

THE PHOTOGRAPHIC NEWS. Vol. XI. No. 439.—February 1,1867. CONTENTS. PAGI Storing and Preservation of Negatives 49 Organic Iron Developers 49 Echoes of the Month. By an Old Photographer 50 Observations ontheSplittingof Films. By John Spiller, F.C.S. 51 On Colouring Photographs in Oil. By J. Grasshom. 52 Photographs on Linen and Cotton Fabrics 53 Photo-Engraving 53 On the Causes of the Fading of Silver Prints. By M. Carey Lea 53 The Opal Printing Frames on the Retired List. By Prof. Towler 54 PAGE Miscellaneous Photographic Hints. By M. Carey Lea 55 The Present Position of Photography 56 Formulae for Children’s Pictures. By J. Inglis os Treatment of Negative Baths. By Leighton Pine 58 Correspondence — The Woodbury Process — Sharpness and , Hardness 60 Talk in the Studio 59 To Correspondents 50 STORING AND PRESERVATION OF NEGATIVES. Os another page will be found an interesting communication, by Mr. Spiller, on a recent examination he has made of the split films of certain negatives. In the course of this examination he has met with an absolute confirmation of the cause of splitting, which we have frequently suggested, namely, the presence of traces of the fixing salt left in the film from imperfect washing, thus causing hygroscopic con ditions which, when the negative is exposed to damp, Tender its destruction almost certain. The most prevalent cause having been ascertained, there are three modes of meeting the evil. First, it is of vital importance to wash very perfectly after fixing, and where the washing water is known to contain chlorides or carbon ates in any serious proportion, it will be wise to finish the washing by slightly rinsing the negative with distilled water. In the next place, when all care in washing has been taken, it will be wise to adopt Mr. England’s plan of treating the film, prior to varnishing, with a solution of india-rubber, which will effectually render it waterproof and protect it from the action of damp air, and will, at the same time, protect the collodion film from splitting by any change in the condition of the varnish, which might otherwise injure the negative. But besides these steps to preserve the negative, the mode of storage is of vital importance. Singularly enough, this is a question which has received but very little attention ; and, not less singularly, such evidence as we possess suggests that the usual mode of storing in boxes is the worst that can be adopted. We have heard of cases where negatives standing on a shelf exposed to all changes of atmosphere have remained uninjured, whilst others stored in boxes have become hopelessly cracked. But, so far as existing evidence goes, the simple packing of each negative in paper is the best protection from damp. Several of our friends have for some time past adopted this method of storing their negatives. Mr. Hughes, Mr. Blanchard, Mr. Fry, and others, inform us that negatives wrapped up in this way and placed in pigeon-holes, duly numbered for reference, remain per fectly safe, and show no signs of cracking. It appears to us, however, that something further than this is desirable. The paper usually employed is blotting- paper, the soft texture of which renders it suitable for coming into contact with the negative without risk of scratching. But the use of bibulous paper scarcely seems, theoretically, the surest means of protecting the film, with which it is in contact, from dampness ; and the question arises whether something better than bibulous paper might not be employed with advantage, either as a substitute for or a supplement to the blotting-paper. For the manufac ture of cartridges, which would be spoiled by contact with moisture, a waterproof paper is employed, and a waterproof cement secures the edges. Might not something of the same kind be employed for packing up negatives ? Dr. Hill Norris, whose knowledge of the preparation and keeping of dry plates probably exceeds that of any other photographer, insists on the danger of keeping dry plates in plate boxes. He packs them up in dozens in a thin sheet of gutta-percha, and supplements this with a wrapping of thin sheet lead. In storing away valuable negatives it might be worth while to wrap them singly in blotting-paper, and then wrap a packet of them in waterproof paper, cemented at the edges with india-rubber paste. The subject is worth attention, and has hitherto received less attention than its importance would warrant. We shall be glad to receive details of the experience of any of our readers who may have given any attention to the subject. ORGANIC IRON DEVELOPERS. We have more than once recently stated that the general verdict of capable photographers on the subject of organic additions to the iron developer has been to the effect that, whilst under ordinary circumstances in which favourable conditions exist, such additions are not necessary, yet they do, under special circumstances, confer special advantages not readily attained by other means. We subjoin one or two formula; recently submitted to us with strong commenda tion by very competent authorities. Mr. Hutton, of Guernsey, who recently placed under our attention some exquisitely beautiful stereoscopic and cabinet views of Sark and other scenery in the Channel Islands, men tioned a simple formula, by the use of which he obtained qualities he had in vain tried to secure when he was using the ordinary developer. The end to be secured in many cases was the perfect rendering in his pictures of dark rocks in the foreground; moving water and breaking waves in the middle distance; and sky and clouds in the extreme distance. No matter what exposure he gave, when the development was sufficiently prolonged to get detail in the foreground rocks, the clouds were buried in mass of deposit which printed white, and the sea became a patch little differing from the white sky. Under some circumstances, full exposure would be a remedy for these excessive contrasts; but prolonged exposure induces another evil when moving water forms part of the subject, the waves becoming one blurred mass instead of a representation of “ league-long rollers thundering on the reef.” Mr. Hutton met the difficulty by modifying his developer, the solution we subjoin permitting prolonged application to bring out detail in the rocks, without burying