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The photographic news
- Bandzählung
- 24.1880
- Erscheinungsdatum
- 1880
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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. 1126, April 2, 1880
- Digitalisat
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The photographic news
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Band 24.1880
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- Register Index 631
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Band 24.1880
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more especially in the case of transparent positives, gave a warm brown tone, much more agreeable than the tone produced by the ordinary ammoniacal developer. M. Davanne passed round the meeting some of the results he had thus obtained, and the more or less warm tone of the negatives, in proportion to the larger or smaller quantity of hyposulphite used in the developer, was easily recognized. Developing Trays in Metal.—M. Davanne also exhibited a number of developing pans that he had had constructed in various kinds of metal—lead, iron, copper, tin, zinc, aluminium—with the object of substituting them for the heavy and brittle porcelain dishes in common use. If these metal trays are equally available for developing either with the ammonia or pyrogallic acid developer—as M. Davanne has found them to be—they will be of great service to travelling photographers. The presence of ammonia in the solution may have an injurious action on the copper tray, but not to such an extent as to affect the photo graphic result. Generally the zinc trays are found to offer the greatest advantages. The Collodion Processes.— It seems that M. Davanne is occupying himself more especially with the processes de pending on the use of collodion. He appears not to wish this substance to be altogether neglected in favour of gelatine, though the latter does give more rapidly working films. This rapidity is, in his opinion, a great advantage, but it must not be forgotten that gelatino-bromide plates take a much longer time to prepare and dry. Collodion emulsion plates, though they are less rapid, are much more easy of preparation, and offer great advantages to open-air photographers. In the photographic, as in other arts, we are compelled to act according to circumstances, and to have recourse to any process which promises to give a good result under the special conditions to which we may have to submit. Prize for (he Invention of a Support to Supersede Glass Plates.—It was announced at the meeting that M. Gaillard had offered the Society a sum of 500 francs with the object of founding a prize for the invention of the best un breakable but pliable medium to replace glass as a support of the sensitive film. The competition for this prize will be open from the 1st May to the 31st De cember of the present year. The negative sensitive tissue of M. Warnerke is of the nature of the substance required, and others have also made investigation in the same direction. M. Ferrier’s, and (before him) M. Steb- bing’s pellicles are cases in point. The invention of a sensitive pellicle of this kind, capable of being produced on a commercial scale, cannot fail to have an important effect on the progress of our art. Photo-typography by M. Michaud.—M. Michaud has applied his process of photo-engraving to the production of typo graphic plates. A proof taken by this method was shown at the meeting, but the result is not conclusive, and the author of the paper himself only put it forward as a first essay. Phototypie applied to Zincography.—With reference to this process, it may be of use to refer to what I have already stated on the subject of an impression by phototypie on grained paper, taken in such a way as not to reach with the fatty ink the bottom of the depressions between the grain. A proof of this kind, retouched with the scraper for the whites, and with the brush for the blacks, would yield a negative admirably adapted to the purposes of zincography. A similar effect might be produced by the help of certain woven fabrics transferred to a white ground, and the necessary gradation of tint might be rendered by hand. Leon Vidal. NORTHERN NOTES. BY JO. VESTRIS. Miniature painting and enamelling require great refine ment of taste, dexterity and delicacy of hand, and patience in the artist. Their history dates back to the first century ; but a limited period of the present century will suffice for the subject of my present remarks. Miniatures by English artists have always held a foremost place, and this has been freely admitted by foreign critics. Some of the best of our living miniature-painters have wholly or in part abandoned the practice of this branch of painting, and, says an authority, “ others of an inferior order are devoting themselves to painting photographic miniatures, or minia tures of which the basis is a feebly developed photographic positive.” Now that the carbon process is emancipated and disenthralled by the universal genius and wonder-worker Time, we may expect to hear no more the mention of a “ feebly developed photographic positive.” The Glasgow Photographic Association will now go ahead, we hope, and form a work committee, the watch committee having proved a total failure. The late J. M. W. Turner would have put the Glasgow Association down on the toast-list under the heading of “ Painters, Glaziers, and Paper Stainers.” One of the first and foremost enamellers a few years ago proposed to divulge his secret process of enamelling for a valuable consideration, but the necessary enthusiasm was not manifested nor fostered. Eventually his process was patented, so that the principles and ingredients in the composition are publicly known ; but the proportions in which they are used, the degree and continuance of the heat required for their perfection, though no secret, are at least the result of skill in manipulation not to be acquired very soon ; in other words, enamelling is indeed a fine-art. Robert Mackenzie has written the history of the nineteenth century in a very condensed form; photography comes in for twenty-seven lines, but not a name is associated with the discovery. Perhaps Robert Mackenzie thinks with Nicephore Niepce, of honoured memory, that -1 it took itself,” and not only forty years ago, Mr. Mackenzie, but fully fifty years ago. About the year 1857 glass positive work was in full swing, but the portraits being reversed they presented strange anomalies ; every soldier was represented in a left-handed aspect as to medals, swords, &c., and the gay coxcomb who didn't part his hair in the middle could never see " his true likeness.” Although not generally in practice, it was in 1857 that reversing the collodion plate was given out to rectify this evil ; but who gave out this simple idea ? Many may now lay claim because of its modern importance in connection with carbon printing. Now that dry-plate work is in the ascendant, it is possible for single transfer carbon printing and reversed gelatine plates to dovetail into each other, and thereby become a mode of procedure which may be very largely adopted. R. Kennett’s patent pellicle is being imitated and adver tised as “ dry sensitive gelatine ” in a local weekly organ. Mr. Kennett should be proud. PRACTICAL EXPERIENCE WITH GELATINE PLATES. BY GEORGE GREGORY* When I spoke to our worthy secretary (Mr. W. J. Chad wick) about this subject, my intention was just to say a word or two in reference to a few prints I intended bring ing. However, he chose to understand I meant to read a paper, and therefore I felt in duty bound to comply as far as I could. So much has been written about this subject, both theoretical and practical, that it will be difficult for me to break new ground, or interest you to the extent I could wish. I have brought certain specimens of work (done on • A communication to the Manchester Photographic Society.
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