The photographic news

• Bandzählung: 35.1891
• Erscheinungsdatum: 1891
• 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-id1780948042-189100009
• PURL: http://digital.slub-dresden.de/id1780948042-18910000
• OAI: oai:de:slub-dresden:db:id-1780948042-18910000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

200 THE PHOTOGRAPHIC NEWS. LMARCI 13, 1891. PHOTOGRAPHY IN FRANCE. BY LEON VIDAL. Photography in Colours—Vitrifiable PHOrO-COLLO- GRAPHIC Prints—Photo-Collographic Blocks on Zinc —Orthochromatic Plates Sensitive to Red—Ilford Lantern Plates—Exposure Shutters—Double Action Finders—Collodion Emulsion Prints—A Kite Camera—Forgery of Bank Notes. Photography in Colours.—The sensation which was made on the occasion of M. Lippmann’s discovery has hardly quieted down. It may be said that the thing has travelled all over the world; it has been everywhere talked of, and often in the most fantastic manner. As we have already said, it is, for the present, a question of pure science, and it cannotyetbe known whether, on the facts brought forward, any application may arise, either artistic or industrial. What appears to be probable is that the results obtained by Messrs. Becquerel, Niepce de St. Victor, and Poitevin were only due to phenomena identical with that of which AL Lippmann has just furnished such an interesting de monstration. It remains to be seen what can be done with composite colours, and no one can as yet predict anything in this respect. This question of colour is very ardent just now. There are in Paris three distinct con cerns based on processes or methods having for their object, not the reproduction of colours, but photography with colours. The public, which is not yet sufficiently initiated into a knowledge of this kind, always sees beyond what exists, and immediately believes that the thing has come to pass. We hear a door-keeper relating how his own son, a schoolboy, has had his portrait taken, and that the buttons on his tunic have shown in copper, whilst his watch-chain has come out in real gold. We were in formed only yesterday that an inventor had discovered a means of printing in three colours on the same plate at one impression. We saw a result said to be thus ob tained which puzzled us. It was evidently a collographic print. According to the statement made to us, the in ventor passes three rollers over the same plate, which is endowed with different chemical affinities—those places which have to be blue will only take the blue ink, &c. This explanation did not satisfy me. Nevertheless, the print examined was curious, and it certainly exhibits a new method, and one apart. If I succeed in finding out anything more about it, I will return to the subject. Vitrifiable Photo-CoUographic Prints.—The French Photo graphic Society had a very interesting meeting on the 6th of March, under the presidency of General Sebert, in the absence of M. Janssen. The beautiful specimens of photo graphic enamels presented by M. Raymond, the author of the process of collography on parchment of which M. Warnerke has spoken, were particularly remarked. By the aid of his photo-collographic process, he prints proofs in fatty ink in which he has incorporated ceramic colours. The printing is made upon paper covered with a coating soluble in water, such as gum, tapioca, or other analogous substance. The image is afterwards attached by an adhesive varnish to porcelain or pottery. The paper is removed by immersion in water, and, finally, the picture is fired. The process is destined to render great service to ceramic photography. By the aid of inks of various colours we may also produce polychromatic vitrified images. Up to the present, attempts in this direction have only given very feeble images after firing. Those of M. Raymond, on the other hand, present remarkable vigour. Photo-CoUographic' Blocks on Zinc.—Without leaving photo-collography, which is now taking a more important place than ever, we come to the collographic blocks of M. Balagny. These are pellicles of gelatino-bromide of silver cemented to sheets of zinc, which may be fastened by nails to blocks of wood, as is done with galvanotypes. Up to the present, M. Balagny has not used these blocks for printing simultaneously with an imprint, but this can be done, and I shall certainly succeed in making use of photography in this direction, as I pointed out myself at the meeting of the 6th of June, 1879. We are con vinced that, by reproducing on gelatine grained or network negatives, so as to obtain places absolutely black and absolutely white, very good results may be obtained, printing simultaneously the collographic image and type. It is, however, necessary to cut the block to the size of the design, without having to leave a certain margin all round, and the blocks of M. Balagny will render impor tant service in this direction. Orthochromatic Plates Sensitive to Red. —Messrs. Lumiere and Son, of Lyons, whose manufacture of sensitive plates is so well appreciated, have just placed on the market orthochromatic plates of two kinds, one sensitive to yellow and green, and the other sensitive to yellow and red. The fact was brought to the notice of the Society by myself, accompanied by some explanatory details, and by lantern slides. The result of the trials is that I can recommend the orthochromatic plates of Lumiere as being excellent. Those sensitive to yellow are of about the same sensitive ness as their ordinary plates, and as good as those of other makers who produce good ones. I only call particular attention to the red-sensitive plates. This kind was wanting; commercial orthochromatic plates, generally speaking, only exalt the sensitiveness to yellow; the red, on the other hand, coming out no better than with ordinary plates. With these sensitive-to-red plates used with a yellow screen, I succeeded in obtaining, even with the most intense red, the true effect of normal vision. If an orange-red screen is used, wc suppress the action of the blues, even the light blues, and we may push the effect of red to the extent of rendering it white in our positives. The example which we forward to the editor of the Photographic News will give a convincing proof of this statement. It results from the initiative taken by the house of Lumiere that orthochromatism will not be long in taking its place in the current practice of photographers in France, professional and amateur. Farther, it alone is capable of attaining the highest results, since it is the only means for rendering the entire gamut in reproduc tions of many-coloured subjects. Exposure Shutters.—New shutters do not fail to appear. This time it is one by M. Chavanon, very simple, and working both for time and instantaneous exposures. Then there is one by Messrs. Hanssen and Co. for binocular work. It is a copy of an American model marvellously adapted for binocular use ; it gives instan taneous exposures that may be repeated without touching the apparatus. Ilford Lantern Plates.—M. Moltani showed some lan tern slides on Ilford plates giving black tones. These slides shown on the screen were much admired. There were some beautiful landscapes by M. Moltani, and an interesting series of Dahomian women, photographed by M. Bucquet in the Jardin d’Acclimatisation, in Paris.