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The photographic news
- Bandzählung
- 15.1871
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- 1871
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- Englisch
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 684, October 13, 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
- Ausgabe Ausgabe 1
- Ausgabe Ausgabe 13
- Ausgabe Ausgabe 25
- Ausgabe Ausgabe 37
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- Ausgabe Ausgabe 73
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- Ausgabe Ausgabe 301
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- Ausgabe Ausgabe 361
- Ausgabe Ausgabe 373
- Ausgabe Ausgabe 385
- Ausgabe Ausgabe 397
- Ausgabe Ausgabe 409
- Ausgabe Ausgabe 421
- Ausgabe Ausgabe 433
- Ausgabe Ausgabe 445
- Ausgabe Ausgabe 457
- Ausgabe Ausgabe 469
- Ausgabe Ausgabe 481
- Ausgabe Ausgabe 493
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- Ausgabe Ausgabe 529
- Ausgabe Ausgabe 541
- Ausgabe Ausgabe 553
- Ausgabe Ausgabe 565
- Ausgabe Ausgabe 577
- Ausgabe Ausgabe 589
- Ausgabe Ausgabe 601
- Ausgabe Ausgabe 613
- Register Index 619
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Band
Band 15.1871
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- Titel
- The photographic news
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1. ed,a ient hing ae in rint. ning ntly ing. We the ■hen s is also , the ct is , in ular some feet. ary, nual you , the sity. pyro aks; hing with tour re- ath, is or ting lany than icals I ex- pre- iteur .tails lars, ould and 1 of lues, rela- very t for lue. The ierto om- a tor, f we your very ptiol j for d, or a are lure > wet , the even ioval 00K, es of pted, hts. n we id to id, a 1 thip ling . J. THE PHOTOGRAPHIC NEWS. Vol. XV. No. 684.—October 13, 1871. CONTENTS. PAGE Acid Conditions of the Toning Bath 481 Printing through Coloured Glasses 481 Weak v. Strong Baths 481 Notes on the Taupenot Process 483 Varnish for Giving a Retouching Surface to Negatives 483 Echoes of the Month. By An Old Photographer 484 Elimination of Hyposulphites. By T. L. Phipson, Ph.D., F.C.8 485 Washed Albumenized Paper in Practice. By H. Baden Pritchard 485 Acid Toning Bath for Albumen Prints. By Dr. Liesegang 486 Photography Eclipsed. By W. T. Bovey 486 PAGE German Correspondence 487 Influence of Gum and Other Preservatives on the Sensitive Film. By M. Carey Lea 488 The Employment of Albumen as a Substratum for Collodion Plates. * By Dr. P. Liesegang 489 Which Side of the Glass should be Coated ? By M. Carey Lea 490 Then and Now in Photography. By Dr. J. Schnauss 490 Proceedings of Societies.—French Photographic Society 491 Talk in the Studio 491 To Correspondents 492 Photographs Registered 492 weak In our own amongst the category of popular errors. A glass prepared in this manner can also desirable knowledge for a travelling photographer in case purposes. He suggested, as a substitute, to mix some milk with gum arabic to a proper consistency, and to of an accident. Mr. Youngman stated further, that in short exposures he had lately tried, with pretty good results, to colour the negative by using a yellow or red aniline colour in the developer." practice, and in our teachings, we have generally insisted on neutrality, whilst Mr. Bovey has unhesitatingly pointed out the superiority of an acid bath. In the majority of the most popular and useful formula) for toning baths, the aim is either to secure a neutral or an acid solution. In the lime bath, for instance, the solution is neutral; whilst in the acetate bath, one of the most extensively used of any, a slight trace of acid is present when the bath is ripe for use. The real object of adding an alkali to a solution of chlo ride of gold to render it fit for toning purposes, is to get rid of free hydrochloric acid, the presence of which is mischievous in several ways. It tends to bleach the print and to produce mealiness, and it also retards the precipita tion of the gold on the print. In many of the toning baths the salt added to the gold solution simply neutralizes the free hydrochloric acid, and if added in such proportion as to cause an alkaline condition, the toning bath will not keep. When a salt like acetate of soda is added to the he gives on another page. The results are admirable, and the bath described seems to possess qualities which strongly recommend it to photographers for general use ; it seems, therefore, well worthy the attentior of our readers. which might be on the glass used for the negative. “ Mr. Kretscher obtained a very strong and brilliant print under an iodized and silvered plate. He prepared the same by simply coating a glass plate with very weak iodized collodion, sensitized it in the silver bath, washed well, and let dry. “ Mr. Schoem covered the negative with a thin porce- i lain plate. The contrasts in the prints made without I and with this plate were very remarkable; more so, 1 indeed, than the contrasts of the first named dodges. “The committee received a vote of thanks for their . labours and exhibition of their interesting specimens, and Mr. Schoem’s method was declared the most successful one. “Mr. Youngman remarked, in relation to the com mittee report, that porcelain plates, especially of larger size, are very expensive, and consequently not practical, ' on account of being easily broken when used for printing solution, it is slowly decomposed by the free hydrochloric acid which is neutralized, acetic acid being liberated, which , ,, * . * „ does not bleach the print, and facilitates the deposition of coat a glass plate with the, mixture. By elevating one r- .1- -1.i: toning batL -LicL ...... end a little, in letting it dry, it will get the superior the solution was neutralized, advantage over porcelain plates of being thicker on one - - end than on the other, which will enable you to cover gold. In the platinum toning bath, which we recom-1 mended some time ago, tue oulullvu was ueulialized, aud then rendered acid with nitric acid, and was found to . answer exceedingly well. We have just been favoured by the weakest part of the negative more than the stronger IN r . • . i i • c 1.1, one A orlace nrenarar in thie manner can qlan Dr. Liesegang with some examples of a gold toning bath , v , made on precisely similar principles, the details of which be used as a focussing glass in the camera a very 1 • 1 1 1 . .... . desrahle lnnwlodoe fAr a +revollino nhotnwranhor in men ACID CONDITIONS OF THE TONING BATH. | obtained, from, weak negatives by printing in a I diffused light; out some members of the German nhoto- there can be little doubt that the introduction, a dozen 1 graphic Society in New York have carried the matter years ago, by Mr. Waterhouse, of the alkaline gold bath, i much further, and", as it is alleged, with considerable for conducting the toning process separately from that of advantage. Our Philadelphia contemporary, reporting a fixation, in place of the mixed bath of hyposulphite of soda recent meeting of the Society, says :— and gold for fixing and toning at the same time, was am ... £ , , L . . .. , great step in photography, as materially contributing to ' ‘ 1 he committee for the best method of printing weak, the permanency of prints But considerable doubt has undertimed negatives, laid numerous prints before the been felt by thoughtful experimentalists as to whether the meeting. Mr.E. Krueger had tried glasses of different term, implying the necessity of alkaline conditions, and colours, of which the dark blue gave the best result; the condtion itself when present, ought not to rank but it was inferior to ground glass which, moreover, - P - ’ - Gias the advantage that the prints made under it, either in sun or shade, won’t show any bubbles or scratches PRINTING THROUGH COLOURED GLASSES. TIE use of coloured glasses, or retarding media, through which the light is transmitted for printing from imper fect negatives, his received considerable attention of late in Germany and America. Old photographers are well aware of the increased brilliancy of the impressions WEAK V. STRONG PRINTING BATHS. A committee of the American Photographic Society ap pointed to investigate the relative value of strong and weak printing baths have recently presented their report to the Society, its general tenor being, as our readers will see, in
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