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

the negative to rest on the edge of the dish, and the part ex posed to the air was better developed than the portion immersed in the developer. In fixing, also, he had found that where the process was slow it was quickened by taking the plate out and letting it stand on edge a little while before returning to the bath. There seemed to be some oxidising action of the air that helped development and fixing along. Mr. Fox said that in the collodion emulsion days, when they worked with yellow light, it was a common dodge to pour the developer off the plate and let it stand for some time. The negative would come up very well in that way ; it brought the detail out rapidly. Mr. Stirling said it had been suggested that part of the action or the benefit brought about by breathing on the plate was due to the added heat; but he wished to ask for some information. What Mr. Cheyney had said about his developing lamp was at variance with his experience. He had never handled any plate that he could expose within five inches of any lamp he had ever seen without developing fog. He thought it would be interest ing to all present if Mr. Cheyney would tell what lamp and what coloured medium he used. Mr. Cheyney stated that his lamp was a Carbutt’s Multum in Parvo. It had a face of ruby-coloured hammered glass in front of it. This he had the misfortune to break, so he took two pieces of Carbutt’s yellow paper, and pasted a piece on one side, and one on the other ; and he could stand a Seeds 26 plate in front of it, with a figure against it, for five minutes, and nothing but clear glass could be gotten out of it. Responding to a remark from Mr. Stirling, Mr. Cheyney said he was never more than eighteen inches or two feet away from the lantern, and he could see the details come up, and he had not very good eyes. Mr. Stirling hinted that as Mr. Cheyney wore glasses he could probably see better than he (Mr. Stirling) could. This Mr. Cheyney denied, and, continuing, said that when he desired to tell the density he always examined the plate by the clear, red glass in the door of the lantern. Mr. Bell spoke in favour of the sodium core, or «e Aladdin” lamp, used by Mr. Rau. He advocated plenty of light in order to distinguish the density of the plate. Mr. Rau, in answer to a question, said the sodium core gave a very pale orange light. Mr. Sachse inquired whether any of the members present had ever had experience with the white or coloured camera interior. Mr. Bell said that, in the old Daguerreotype times, they had used something like that, but it was abandoned, mostly for the reasons given in Mr. Sachse’s paper. The images obtained were very indifferent. Mr. Ives thought it would be of interest to the members to know that, in the old wet-plate days, a secret method was sold to photographers for $10.00, which consisted of a lighted wax match, to be held until burned out—a very convenient way for supplemental lighting. • PROPOSED INTERNATIONAL STANDARDS* BY LEON WARNERKE. Responding to the invitation of the past president of Convention to open the discussion on “International Photographic Standards,” proposed by the last Paris ] Congress, I have been prepared to give a detailed account of the work done by the Congress, but want of time decided me to shorten that part of my paper, referring persons interested to the article of Photography, published July 2nd, entitled “ International Photographic Standards,’’ by C. H. Bothamley, and containing abstract of the decisions of the last Paris Congress. It is useless to dwell on the extreme importance and imperative urgency of putting our houses in order. Photo graphy has grown to such an extent, so numerous are its applications, that I can compare it to a huge central factory, surrounded by others producing everything that * Read at the Photographic Convention. constitutes human industry—social and domestic comfort, science, art, commerce, and trade ; all these surrounding factories depending on the central one. It will not only produce some materials and tools necessary, but often control and verify its works. Its resources are inexhaus tible ; it is capable of supplying any demand. One thing only causes a great anxiety—there is no harmony among different departments of the central factory, and even among the individual workers of the separate departments. They not only each use different tools, different patterns, models, shapes, and sizes, but even different denominations somewhat like the workers of the Tower of Babel. To avoid the fate of the unfortunate tower, we must put order into our house. This country was the first to feel the necessity of that order some ten or twelve years ago. That was a good beginning, but it affects only one ‘ department of the central factory, and only a very small branch of that department. That Babelian condition is felt very painfully every where where photography is used, and where is it now not used ? And that was the motive that brought forward the scheme of the Photographic Congress—universal or international. The first idea was generated in Belgium in 1884. Some unfortunate circumstances prevented the Belgians from organising that Congress in their own country, and the French, taking advantage of the Uni versal Exhibition of 1889, decided to hold a Photographic Congress. A committee appointed by the Paris Photo graphic Society, and consisting of the leading luminaries in the French scientific world, prepared a series of ques tions, and submitted their own solutions, which, after slight discussion, was embodied in the resolutions indicated above. No doubt the labour of that Congress was great and conscientious, but, unfortunately, the place of congress was not well chosen. Foreigners (from political consider ations) did not take part in the deliberation, and that is the reason why the resolutions of the Paris Congress are one-sided, and not international enough. However, the final decision, that the labour of the Paris Congress is to be continued by the following periodical congresses, offers the opportunity to amend indicated shortcomings. The next Congress is to take place at Brussels, in Bel gium, in 1891, from August 23rd to 30th. No better place can be chosen for the Congress. It is central, and the ground politically neutral. Photographic societies of all the world are preparing by sending delegates of their own to submit resolutions and take part in the discussion at that Congress. My object in this communication is to draw the attention of this Convention to the necessity— nay, to the urgency of putting our shoulder to the common wheel. Here I cannot sufficiently accentuate the fact that any photographic standard adopted will not confer complete benefit unless it be universally adopted, and, consequently, international. In order that it can be adjusted to the conditions of this country with the smallest friction, representatives of this country must contribute to its shape, and that is the reason why our duty is to be strongly represented in Brussels. The organisers of the Brussels Congress have already issued a programme of that Congress. It is physically impossible to discuss the details of the Congress during the few hours this Convention has to exist. Therefore, I think it will be reasonable to appoint delegates and a special (active) committee, whose duty shall be to examine the programme and draw up the instruction for the dele gates. If any chosen representative pleads want of know-