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

BROMIDE ENLARGING* BY G. D. MILBURN. Enlarging on bromide paper ought to be of interest to all, because a good enlarging process is a great desideratum in every first-class photographic studio. It is a well known fact that, in the average of cases, small size negatives give better satisfaction to patrons of photographic studios than larger ones. There are many reasons for this, in which the lenses used play no small part, causing more or less distortion, to a much greater degree in large work than in small—the operator is more accustomed to small work— it takes less time of exposure, and costs less if a small plate is spoiled; therefore, he is more willing to try it over again if the first sitting is not up to his usual standard. Many other reasons could be enumerated in support of my assertion that prints from large negatives, as a general rule, do not give as much satisfaction as prints from small negatives. Having produced a good small negative which pleases the sitter, it is a very easy matter, by using a little honour able business tact, to sell your customer a good, artistic ally enlarged picture from the same negative. Or will you argue, “ A photographer has not the same right to call attention to his goods that other respectable business men have ” ? or perhaps you will say, “ It is not necessary to call especial attention to our large work, for our customers are aware of our facilities for producing that class of work before entering our studios.” The latter is, no doubt, true in many cases, but experience has taught every first- class business man in the land that his goods must be prominently brought to the attention of customers and the public time and again if success shall be his. In other words, I contend that, while you practise photography as an art, it behoves you to also practise it as a practical business, and with that end in view I wish to call your attention to the bromide process as a very valuable auxiliary. A very successful method of introducing large work, as practised by many, is to have an enlarged print ready for the purpose of showing to the customer when the small contact prints are called for, then, by slipping the said enlargement into a convenient, suitable passejiartout or frame, explaining in the meanwhile the different styles in which the enlarged picture can be finished—such as crayon, oil, or pastel—a sale will invariably follow, and if, occasionally, no sale, the loss in cost of material for making up the print is very trifling indeed. While on the subject of frames, I wish to show you what enormous difference it makes to a large bromide print to be appropriately framed, also the difference one hour’s crayon work makes on a good bromide print. When first the process was introduced in this country, there was much speculation rife as to the permanency of bromide prints; but this has ceased now, for it has been conclusively proved that when prints are properly made from good permanent bromide paper they are as lasting as any other photographic prints whatsoever. When the bromide process was first introduced in this country, many photographers began using it, some only soon to give it up, claiming that it was much more difficult than they had anticipated. This was due to the great uncertainty in results, as well as the different methods which can be adopted to secure good results. * Abstract of a communication to the Buffalo Convention of the P. A. of A. From a strong negative, it is possible to produce either strong or soft prints, and the same from a soft negative. Some photographers are successfully using hydrochinone and also eikonogen, as developing agents. After exten sive experiments, we have concluded that the iron oxalate is the very best developer for bromide prints. However, I own that there is more latitude in the actual development with the two former developers, inasmuch as the operation can be commenced with weak developer, increasing in strength as it is found necessary. On the other hand, with the oxalate developer, we get a purity of white and blacks unattainable with the others. To proceed with the demonstration. If upon examin ation of the negative to be enlarged, it is found difficult to determine the correct amount of exposure to be employed, do not venture to expose a large sheet of bromide paper, but, as a guide, place in position on the easel a small piece of bromide paper; that is, after the image has been projected to the proper size, and focussed sharply ; then expose and develop. If daylight is used for exposure, care must be taken to permit as little time as possible to elapse between the exposure of guide and print, as the light is apt to vary, making your guide useless. On dense parts of the nega tive, extra time can be given on the same plan as vignetting, and very deep shadows can easily be held back by means of a shaped card on the end of a strip of glass. The amount of bromide solution used in developer has great influence on the quality of bromide prints. For weak negatives, the amount of bromide solution can be doubled or trebled to advantage, and, for strong negatives, it can be reduced to half or a quarter the normal amount. However, with fresh, normal developer, some bromide solution ought always to be used, or a measly, mottled deposit may cover the print. To insure permanence, care must be taken to remove all the iron solution after development, by washing thoroughly with acid solution, and all white light excluded until the print is thoroughly fixed in the hypo, and the final wash ing must be very complete. The apparatus necessary for bromide enlarging, as you see, is very simple, a camera, lens, and easel, being the most essential parts. Daylight is very good for enlarging, giving a smooth, even illumination. However, when a large quantity of work is to be provided for, the arc electric light is most convenient, as it is powerful and practically uniform. • Photographic Club.—Subject for Aug. 12 th, Report of Delegates to the Convention, illustrated by the lantern ; Aug. 19th, “The Primuline Process.” Saturday outing (Aug. 8th), Cheam ; train from London Bridge 2.18.