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The photographic news
- Bandzählung
- 35.1891
- Erscheinungsdatum
- 1891
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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. 1700, April 3, 1891
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The photographic news
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APaIL 3, 1891.] THE PHOTOGRAPHIC NEWS, 265 THE PERMANENCY OF PHOTOGRAPHS* BY FR. WILDE. I will now call attention to another troublesome matter, which has not been obviated notwithstanding the re peated warnings given, viz., the use of cards for mounting prints which have been printed with bronze powder. The fine bronze powder never adheres so fast to the mount but that some particles, in packing or handling, become spread over the mount. If these particles are not care fully removed, they will cause spots and blemishes, for whose appearance you will not have long to wait. We ask, must bronze powder be used? No. Why so thoughtlessly use a medium which destroys the photo graph? Fine coloured inks can be used to produce just as fine and tasteful effects, and give no cause for destroy ing the photograph in the course of time. I cannot, while upon this subject, refrain from calling attention to the tendency, lately evolved, which has resulted in the mounts being overloaded with gaudy decorations. Simple embel lishments with good taste are certainly easily combined, and are far preferable. While we complain about the shrinkage of the prices for photographs, yet at the same time we reduce the margin of profit still more by extra vagance in the gaudy and useless embellishments on our mounts. In several of our leading and most frequented galleries the experiment was tried to again return to the use of plain mounts, without any noticeable diminution of patronage. It is well to be cautious in the use of dark coloured mounts, and especially in all where the colour is coated, it is best to confine ourselves to neutral mounts— either white or faint tints of grey or buff. Silverprints are also made on argentic chloride collodion paper—argentic, chloride, gelatine, and bromo-silver- gelatine papers. Regarding the first of these three speci alities, I have had an experience since 1876, and can testify that they are permanent. I must, however, mention that, in isolated cases, the film or coating is apt to strip or peel off; possibly the emulsion used in such cases was too stiff. Many photographers are in the habit of using argentic collodion prints in their show-cases, as they are supposed to be more permanent than prints onalbumenised paper. This is true only in the case of pink-tinted albu men paper, which, if continuously exposed to bright day light, soon looses its delicate shade, and becomes tawny like a piece of chamois leather. In tinted argentic collo dion papers the pigment is not incorporated with the emulsion, but is added to the coating of barytes on the paper, and which serves as the support to the sensitive film. In colouring barytes more stable pigments can be used than with albumen. Regarding prints on chloro-silver-gelatine and bromo- silver-gelatine papers, my experience regarding the first extends over a period of eight years ; regarding the latter, six years, and are of such a character that I do not doubt their stability. Notwithstanding the advantages offered by these three latter processes, they have for some reason interfered but little with the production of the albumen print. When I ventured the query, why ? the answer has usually been : Our operator can turn out enough work with the easier albumen process. This may be true, but if so little opportunity is given to our apprentices to learn the various processes in photography, where are the experi enced experts of the future to come from ?. ’ Continued from page 244. I repeat what I have before stated, that the photo grapher who is careful to conscientiously eliminate every vestige of hypo from his prints, and exercises the neces sary caution in the selection of his materials, may safely guarantee the stability of his albumen prints—of course, provided nothing is wrong with the paper, which unfor tunately will occur, and is altogether out of the control of the photographer. With Steinbach paper, as well as that bearing the water-mark “ Rives,” I have never dis covered any fault. Other papers may be just as reliable, but none should be used for photographic purposes until proven to be so beyond doubt. About the year 1855 I bought a number of fine engrav ings from the most renowned art institute in Munich— pictures which had no connection with photographic baths or processes—and yet they discoloured and turned yellow. The first became apparent in one where the glass was broken. I then noticed that where the paper was pro tected by the mat it had remained perfectly white, but where exposed to the light it had become noticeably yellow. In this case the paper alone was to blame. If similar paper had been used for photographic purposes, and the same result ensued, the blame would have been cast upon the means and materials used in producing the photographic image. Carbon prints, in which the reproduction of the beauty of a high-class negative is so decidedly superior to a silver print, are of undoubted stability, provided that only such colour or pigments are used to colour the gelatine whose stability in the light has been proved. It was with the object in view to supplant the wholesale production of albumen prints that pigments were used which would reproduce the favourite tints of the albumen prints. To achieve this object, pigments were requisite which were not permanent, and seemingly faded still more rapidly, and assumed a dirtier shade when used with gelatine, than when used with albumen. Thereby the manufacturers of pig ment papers committed a grievous error, and placed a weapon in the hands of the enemies of the carbon process, and such photographers who opposed any substitute for the albumen process, with which the introduction of the carbon process was successfully opposed. With per manent pigments beautiful pictures can be made, which well deserve the approval of a critical public. However, any process where the necessary depth of printing cannot be watched will scarcely ever gain the favour of the bulk of professional photographers. Carbon prints, conse quently, have this in common with the silver print, viz., that the selection of the materials is also responsible for the permanency of the prints. (To be continued.) FAVERSHAN Institute Photographic Society.—The first annual exhibition will be held in the Faversham Institute, on Tuesday, Wednesday, Thursday, and Friday, April 27th, 28th, 29th, and 30th, 1891. There will be a photographic compe tition confined to members of the Society. The competitive prints and slides 'will be on view at the exhibition from April 27th to 30th inclusive, in addition to which, in order to make the exhibition as interesting as possible, outsiders as well as members are invited to send in any kind of photographic work for exhibition only. This invitation to outsiders is a new departure, which, we think, other societies, while in their infancy, might copy with advantage. They will, as time rolls on, learn to run alone. Such exhibits to be sent to the hon. secretary, Mr. Frank Crosoer, 13, Market Place, Faver- sham, not later than 23rd April,
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