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

32 THE PHOTOGRAPHIC NEWS. [January 9, 1891. UiUrarg Notces. PHOTOGRAPHISCHER ALMANACH UND KALENDER FUER DAS Jahr 1891. (^Dusseldorf: Ed. Liesegang.) The photographic almanac annually issued by Dr. Liese- gang is less bulky than most of the contemporary publica tions of a similar kind, but contains much useful matter. • The calendar is full of references to events of a photo graphic character, the observation of which, when it is referred to for the customary purpose of ascertaining current dates, is calculated to instil a certain amount of historical knowledge of photography, an element which we have found to be very deficient amongst photographers, both professional and amateur, especially, as a matter of course, amongst the newer devotees of the science. The almanac is illustrated by three photo-ink repro ductions ; the first is a collotype portrait of Franz Veress, whose labours in the field of colour photography created so much stir a short time since. The very intelli gent head of Herr Veress is seen to advantage in this collotype, of the quality of which it may be enough to say that it looks like a fine platinotype. A short biographical notice and description accompanies the portrait. Of the importance of Herr Veress’ improvements we are hardly as yet in a position to judge, but it is scarcely probable that Dr. Eder would have spoken of them in the high terms he did if they were of the insignificance that in some quarters has been attributed to them. A print from a half-tone zinc etching by Tuercke, whose process has been described in our Year-Book, is a good example of a river view with buildings, as rendered by a method of typographic printing; but the most charming illustration, to our mind, is that of a scene at Gronenbach reproduced in collotype by, as we are told, a pupil in Crowenberg’s institute of instruction. There is a beautiful range of tone that gives life and reality to the whole. This is shown particularly in the deeper parts, where what would be a general heaviness in some processes is rendered luminous by the clear brightness of small portions of decidedly greater depth. The subject of the colour of the light best suited for dark-room illumination, and the objectionable character of red light as affecting the eyesight, appears to be attracting attention in Germany just now, for besides a paragraph bv Herr Liesegang, in which he mentions that the injurious character of red light is now generally accepted as a fact, we find an article by Arno Kersten, in which he says that we cannot caution too much against the use of red light, which is so very injurious to the eyes. He recommends, in place of red, to paste upon one or both sides of ordinary glass several thicknesses of a paper which is in common commercial use in Germany, and is known as "Rehbraunen Seidenpapier." This is a paper of a fawn or sienna colour. When dry, the paper is rendered translucent by imbuing it with vaseline or paraffin, and a pleasant light is obtained that is not trying to the eyes. As a source of light, he advises petroleum or gas, on account of the varying character of daylight. He adds that he has now used this yellowish light for some years, after having seriously impaired his sight by the use of red fight. As the result of a canvass amongst professional photo graphers in Germany to ascertain the developer most in use, we are told that more than half employ the ferrous oxalate, 25 per cent, eikonogen, 15 per cent, hydrokinone. and 10 per cent, the pyrogallic developer. This is, we should say, a very different result from that which would represent the practice of photographers in this country, where the relative proportions of the users of pyro and ferrous oxalate would be probably found to be about in a reverse ratio. Amongst amateurs we are given a different proportion, hydrokinone being the favourite with 80 per cent., eikonogen next with 26 per cent.; then follows ferrous oxalate with 20 per cent., and last again pyro with 16 per cent. It would be interesting to have some explanation of this curious diversity of practice. Amongst information useful to tourist photographers is a list of dark rooms available for travellers’ use, and we are pleased to notice that the list for England occupies more space than is taken by those of all the other coun tries mentioned. There are, of course, a number of articles which our space will not permit us to go into, but many of which will well repay perusal, and a compact summary of for mulae completes a work which will doubtless command a large circulation wherever there are photographers to whom a work in the German language is intelligible. The American Annual of Photography for 1891. (The Scovil and Adams Company, New York; Hamilton, Judd, and Company, London.') This annual is about double the size of those published in England ; it is also double the price. The most interest ing article in it is that by Mr. C. W. Canfield, illustrated by twelve authentic portraits of Daguerre, reproduced by photo-mechanical processes. The other articles contain more or less useful practical information, and there are plenty of photo-mechanical illustrations, varying much in quality. Mr. S. F. H. Hewitt gives the following re ducing formula, which he says is better than Mr. Farmer’s when an acid fixing bath has been used :— BELITSKI's Acid REDUCER. Water ... ... ... ... ... 7 ounces Potassium ferric oxalate ... ... ... 2} drams Crystallised neutral sulphite of soda ... 2 „ Powdered oxalic acid ... ... 30 to 45 grains Hyposulphite of soda ... ... ... 1} ounces The solution must be made in the order given ; filtered, and kept in tightly closed bottles in subdued light. This reducer can be used over and over again, and keeps well for months. With repeated use its activity is not diminished, because the oxygen that had parted from the ferric salt in favour of the silver is replaced by absorption from the atmospheric air. The acid reducing fluid tans gelatine films. PYRo-STAINED Hands.—L’Amateur Photographic advises the following solution for ridding the fingers and hands ot pyrogallic stains :—Hydrochloric acid 93 grammes, oxalic acid 22 grammes, phosphoric acid 25 grammes, and water 500. Foi our part, we have found a strong solution of citric acid sufficient in almost every case. It is remarkable that some people’s fingers become more deeply stained than others under similar conditions. Hydrochloric acid diluted in proportion of about 1 to 5 is with many manipulators sufficiently effective. We should, however, recommend, the following method: Whilst developing, have by one a beaker filled with water, in which a few crystals of citric acid have been dissolved, and from time to time, as the fingers come in contact with the developer, dip them in the solution, and rinse them under the tap. When the work is completed, scrub the fingers and nails with a dean nailbrush, using the citric acid solution, and in all cases, of course, avoid the use of soap or soapy water, the alkaline nature of which will undo all the good services of the acid.—The Photographic Art Journal,