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The photographic news
- Bandzählung
- 35.1891
- Erscheinungsdatum
- 1891
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- Englisch
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- F 135
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- http://digital.slub-dresden.de/id1780948042-18910000
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- oai:de:slub-dresden:db:id-1780948042-18910000
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- Bandzählung
- No. 1730, October 30, 1891
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The photographic news
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748 THE PHOTOGRAPHIC NEWS. [October 30, 1891. all down as a fault somehow inherent to photography— appear to be making too much of a small error. But in portraying the human form, small errors are not necessarily slight errors. A very minute change of proportion may make a serious change in expression ; and respect for our art in its highest and almost ideal vocation—the portraiture of the human face and form—should make us scrupulous as to error directly affecting form in our portraits. It is well to remember also that the principle applies with equal force to photographing statues or busts ; and that though these subjects reward the use of small stops by such full depth of focus and general accuracy of definition as is impossible with a living subject, yet small stops will cure no kind of distortion. (To be continued.) PRINTING ON SILK. The following directions for printing photographs on silk we take from the columns of the Scientific American. It is recommended to use china silk of a ground tint suitable to the subject in hand. The silk must first be well washed to free it from dressing, and then immersed in the follow ing solution:— Common salt 4 grammes Arrowroot ... ... ... ... 4 ,, Acetic acid ... ... ... ... 15 c.c. Distilled water ... ... ... 100 ,, The arrowroot is dissolved in the water by the aid of a gentle heat, and then the other ingredients added, and finally— Tannin... 4 grammes dissolved in— Distilled water ... ... ... 100 c.c. Are also added, and the mixture filtered. The silk is allowed to lie in this salting bath for three minutes, hung up to dry, and afterwards sensitised on a silver bath as follows:— Nitrate of silver ... ... ... 3 grammes Distilled water ... ... ... 25 c.c. Nitric acid ... ... ... ... } drop The silk is floated on this for one minute, then hung up till surface dry, and finally pinned out on a board till thoroughly dry. It is printed in the usual way, and washed and toned as usual, though we have found the mixed acetate and sulphocyanide bath give the best tones. Retribution.— A beautiful maiden, reading a book ; A picturesque landscape, a babbling brook. A man with a kodak in secret prepares To picture the maid as she sits, unawares. Her two strapping brothers were chancing to pass, Saw the man with the kodak, and also the lass. They rolled up their sleeves, threw off hat, coat, and vest; The man pressed the button, they did the rest. —Judge. Wb beg to thank “Watchman,” in the Beacon, for a para graph which concerns the Photographic News. He writes : “Is not your confrere of the Aye like the originators of the Daguerre Memorial, a little out in his historical knowledge ? At the entertainment given by the American Aristotype Com pany, at Chautauqua, he proposed the health of Dr. Liesegang and Herr Obernetter as the inventors of “ aristo ” paper, when, as almost everybody else knows, that honour belonged to the late G. Wharton Simpson, editor of the Photographic News. In August, I think, of 1864, I assisted as an onlooker at the first experiments he made in that direction, and the process was published later in the year in the Year-Book published in connection with that journal, and I know of at least one photo grapher who took it up then, and has stuck to it ever since.” THE PRINTING PAPER OF THE FUTURE* BY JOHN HOWSON. Nothing can be more striking to the careful student of photographic history than the fact that albumenised paper, which has, without doubt, been the most widely con demned and least understood of printing processes, should have not merely survived, but be still the process which is most largely used. At all periods during its existence its inherent want of permanency, and its uncertainty and other demerits, have been the constantly recurring themes of discourse at our meetings and in our journals. To have survived these onslaughts, it is clear that its draw backs have been balanced by some real merits. Its good points are readily pointed out, and, when found, will as readily explain the apparent anomaly of so universally condemned a process being at once so widely used and so long-lived. I cannot better explain the position than by quoting from an article written in 1887 by Mr. Herbert S. Starnes. In that article he discusses this very question, “ What will be the printing process of the future ? ” After writing of the question of permanency, and joining the chorus of condemnation, he goes on to say : “ Next to permanency is that of range of tone and delicacy of image. Here there is no doubt that albumenised paper holds first place. With a suitable negative, platinotype or bromide emulsion papers no doubt run it close, but, as a rule, there is a flat ness in the darkest shadows which we do not get in albu menised paper, and there is also a less graduated range of tones from light to dark.” After further comparing the various processes, he concludes as follows: “ I think I have said enough to show that the printing process of the future must be something different to what has yet been introduced, and that photographers are sensible in not throwing up albumenised paper until they are shown something that can take its place by giving equal results with equal certainty.” To prove that we have to-day such a process as Mr. Starnes looked for within our reach, is my task, and I do not pretend for one moment to rely on my own opinions to prove my case, that gelatino-chloride paper has within it qualities which make it, as I claim, “ the printing pro cess of the future.” Having thus stated my case, I may, with a view to its better understanding, refer to the historical aspect of the paper. Its forerunner and prototype was collodio- chloride paper. This paper, produced as long ago as 1865, was known to the photographic world as Simpson- type, and, though in its day it had considerable success, and even now is not altogether defunct, there are draw backs to its use which make it fall short of that perfection which is aimed at. As gelatine began to oust collodion for negative plates, so, naturally, the attention of expe rimenters in printing processes was directed to the use of gelatine as a vehicle for the silver salt in that special branch. As is too often the case, the world was slow to value at their full worth these discoveries, and the matter had, at the moment, no commercial outcome. Photographers here and there have prepared their own paper after one or other of the formula! given, but such individual effort to utilise the process could but be called a living death. Now-a-days everything photographic, to be of widespread use, must be prepared on a large commercial scale, and be * Abstract of a paper read before the Photographic Society of Ireland.
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