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The photographic news
- Bandzählung
- 15.1871
- Erscheinungsdatum
- 1871
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- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
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- http://digital.slub-dresden.de/id1780948042-18710000
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- Parlamentsperiode
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- Bandzählung
- No. 677, August 25, 1871
- Digitalisat
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Zeitschrift
The photographic news
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Band
Band 15.1871
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- Titelblatt Titelblatt I
- Sonstiges Preface III
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- Register Index 619
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Band
Band 15.1871
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- Titel
- The photographic news
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THE PHOTOGRAPHIC NEWS. Vol. XV. No. 677.—August 25, 1871. CONTENTS. PAGE Mounting Boards a Source of Fading 397 Practical Hints for Summer Manipulation 398 Fixing at Leisure 398 Approximate Equivalents for Metric Weights and Measures ... 399 A Simple Method of Enamelling Cameo Pictures. By L. G. Kleffel 399 Photography in Belgium 399 French Correspondence 400 Strong versus Weak Silver Baths. By W. T. Bovey.. 401 On the Change of Colour Produced in Certain Chemical Com pounds by Heat. By Prof. Edwin J. Houston 401 PAGE Report on Photography in the International Exhibition of 1871. By Lieut.-Col. Stuart Wortlcy ;; On Ilie Importance of Costume in Portrait Photography. By Hans Hartmann The Salts of Chromium Used in Photography. By J. Schaar- wachter Photography for the Uninitiated. By Charles Wager Hull ... Correspondence.—Apprentices and Assistants—More Odds and Ends—Residues and Refiners Talk in the Studio To Correspondents 402 403 404 405 407 408 408 MOUNTING BOARDS A SOURCE OF FADING. Although we have frequently expressed our unhesitating conviction that the progress of permanent printing pro cesses, chemical and mechanical, must tend in greater or less degree to supersede silver printing, this fact in no degree diminishes the interest of any method tending to secure permanency in the staple products of the art, which silver prints must continue to be for many years to come. Under proper conditions, as we have often affirmed, silver Prints have been found to possess, if not absolute perman ency, at least a tolerably long tenure of existence. Hence it becomes very important to determine what are proper conditions. This can only be done by constant observa tion and notation of the circumstances under which special excellence of preservation or unusual rapidity of fading is most frequently found. We wish, at present, to recall to the attention of our readers the very marked influence of the mounting board on the permanency of the print. In referring again to this subject, we do not, of course, introduce the notion that mounting cards and mounting materials are a frequent source of fading in silver prints, ns a new idea. The suggestion has been made more than once in these pages, but our attention has recently been forcibly called to some especial points in connection with the subject. We have lately been overhauling a some- what extensive collection of photographs from all parts of the world, and were struck with a curious disparity between the condition of various prints. In examining a large collection of card portraits in albums, we find very few done over three or four years ago which are not sicklied over with more Or less of the yellow tint which is the portent of final destruction; whilst on examining larger photographs of equal age we scarcely find one changed. We mentioned the matter to a friend, a por traitist of large experience, who chanced to call upon us about the time. . “ How is it,” we remarked, pointing to a large collec tion of fine portraits and pictorial photographs hanging framed on the walls of our study, “ that these large photo graphs by English, French, American, and German masters, some of them produced a dozen years ago, and all a few years old, scarcely in any instance show signs of fading, whilst of the card pictures in our albums scarcely one has escaped ? ” " I have no doubt whatever,” was his reply, “that the difference is solely due to the mounting boards and mount- mg materials. For large pictures, moderately good boards are used; for card pictures, a pretty, smooth-looking mount is required; but in manufacture, I believe, any kind of rubbish is employed. Competition in price usually brings such a result. In mounting all my own large portraits,” he added, “ I use a stout board coated with yellow enamel surface, of the same kind as that employed for stereoscopio mounts, and I believe it'tobea great safeguard against the fading of the print, so far as the quality of the mount ing board can affect the matter. It is somewhat more costly, but I should use it if it cost six times as much.” “As regards the adhesive material employed,” he added, “I have long noticed that prints mounted with starch or similar paste fade much sooner than those mounted with glue. Card pictures are generally mounted by the photographer himself, and he almost invariably em ploys starch; large pictures are often sent to a profes sional mounter, and he generally uses glue ; hence large pictures remain permanent when cards fade.” We think that the experience of photographers generally will confirm this dictum. Certain it is that defects in mounting materials and in mounting boards are frequent causes of fading. We remember some time ago examining a stock of pictures at Mr. England’s establishment, when he showed us several drawers full of unmounted prints which were in perfectly good condition, whilst the stock of the same prints, produced under all the same conditions, which were mounted, in every instance showed more or less signs of fading. Mounting material and mounting boards being so mani festly concerned in the important question of permanence, it is clear that their quality demands a greater share of the attention of photographers than it commonly receives. The quality ot the mounting board is, unfortunately, less within the control or means of testing than is desirable. The precise nature of the impurities present which pro duce the disastrous effects we have seen is somewhat un certain. Hyposulphite of soda, used by the paper manu facturer as an “ anti-chlor," is at times left by careless ness or inadvertence in the paper of which the cardboard is made. We have repeatedly pointed out the various simple tests by which photographers may ascertain for themselves whether any taint of this disastrous agent is present in their boards, and we should recommend that a few samples out of every fresh stock of cards should be carefully tested. Unfortunately, when this is done, there may still remain deleterious elements, the precise nature of which cannot be readily determined. Sour paste, or paste containing bichloride of mercury, alum, or other metallic salts, may be used in making the boards, and these, especially under certain atmospheric conditions, may exercise an injurious influence in the photograph with which they come into contact. For large photographs without white margin the yellow enamelled mounting boards undoubtedly present an element of safety. For small.pictures, and in all cases where a white margin is required, the chief safeguard will consist in avoiding the low priced articles brought into the market by excessive
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