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The photographic news
- Bandzählung
- 24.1880
- Erscheinungsdatum
- 1880
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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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- Bandzählung
- No. 1126, April 2, 1880
- Digitalisat
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Zeitschrift
The photographic news
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Band
Band 24.1880
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- Register Index 631
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Band
Band 24.1880
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gelatine plates) for your inspection and criticism. They have been chosen with the intention of showing the great diversity of effects obtainable by modifying the develop ment. Of course I now speak of pyrogallic development, which I almost invariably use. The chief difficulty in writing a paper of this character arises from the fact that one is almost compelled to state many things that may be perfectly familiar to most of you, but still not known to all. It goes without saying that in taking in hand a process like gelatine—so different to col lodion in its physical character—many mishaps may arise if we are not careful and proceed thoughtfully to work. Soon after I commenced using gelatine plates, I unthink ingly made up some hyposulphite for fixing, and used hot water to effect solution. Certainly I did not put in the plate while the solution was hot, but I placed it there before it was quite cold, the result being the loss of what seemed a very good negative. The next mishap occurred by reason of the film expand ing from carte to cabinet size. The plates were not given to any tricks of that kind previous to this particular instance, so the rest of the plates for that day were treated with alum, which proved a cure. I attribute the occur rence to the room being overheated by the gardener who attends to the heating apparatus. The next blunder was by reason of the assistant placing the negative too near a fire to dry, the consequence being the slipping of the film in a most grotesque fashion. Having learnt caution by these mishaps all goes smoothly, except now and again a decided error in exposure. A slight error in that direction can be rectified (as I men tioned in the beginning of this communication) by modify ing the composition of the developer. You will please take my remarks for what they are worth, but 1 have proved them in my own case, and so have confidence in them. We will suppose that on applying the developer it is found the plate is over-exposed. Wash off at once, and apply a developer containing excess of pyrogallic ; if under-exposed, add a few drops at a time of the bromide and ammonia solution. I find most plates will stand with out detriment thirty or forty drops. Of course, if you know beforehand that your plate is under or over-exposed, modify the development at first, which will give a much better result than if left until the action is fairly com menced. There are many little points arising from time to time which must be left to the judgment of the operator. Now, a few words in reference to which is the better process—gelatine or collodion. I have seen opinions in the journals differing widely, some preferring collodion and some gelatine. My opinion is that there can be no fair comparison between the two, for the reason that with gelatine things can be done it would be foolish to attempt with the collodion process as ordinarily worked. If I were asked to give up the collodion process alto gether, my answer would be—“No!” I prefer to have two strings to my bow rather than one. The pictures I have brought to-night are just prints from the negatives without any spotting, so they are capable of being im proved ; but they will serve to show what can be done by gelatine in the ordinary course of business. In conclusion, I am pleased to be able to state that a few of the prints are from negatives produced on plates prepared by Mr. T. Chilton, who forwarded some plates for me to test. Any questions occurring to members I shall be glad to answer to the best of my ability. I may just mention the plan of developing I like best. I have made a deep wooden spoon, which I find, under ordinary circumstances, to hold enough of pyrogallic without the trouble of weighing. I place an exposed plate to soak for a minute in rather over two ounces of water, during which time I put into a measure the quan- tt of pyrogallic, and pour the water from the plate to the measure and back again. I then measure the bromide and ammonia solution, pour again from the plate to the mea sure and back again, when all proceeds as smoothly as possible if the exposure have been anything like right. Correspondence. RUBY GROUND GLASS FOR THE DARK-ROOM. Dear Sir,—It was a curious coincidence that on the same day when I received the proof of an article written for the Philadelphia Photographer for March, on the superiority of ruby ground glass for the dark-room when gelatino-bromide plates are to be developed, I received your paper of February 13th, containing the same suggestion by one of your correspondents. Your issue of February 27th recom mends light ruby with orange. I would suggestthat in all cases the surface of one of the glasses be ground, as it softens and diffuses the light transmitted, and deprives it of the dazzling effect which always accompanies ruby glass, or ruby and orange combined. You will be surprised by the contrast between the ground and the unground ruby. Of course, there is no fixed rule which can govern all studios and dark-rooms, as they differ widely in means of external illumination, so there must be an equally wide difference in the means of protection against the fogging of the gelatine plates. Where direct sunlight is to be shut out, two thicknesses of dark ruby ground will sometimes be necessary, and yet admit light enough to work by. If this be too dark a screen, the operator can make experiments until he comes down to the right combination, which shall solve the problem of admitting light sufficient to work by and cutting off actinic effect sufficiently to prevent fogging. He can try two lighter tints of ruby, or one ruby and one orange, or ruby and yellow, or one ruby, in all cases having one surface ground, to obtain its mellowing and diffusive effect. There are many tints of red in the different sheets sold by glass dealers, and sometimes different tints in the same sheet. And so it is a mattter of experiment with each photographer to decide whether to use dark or light ruby, and one or two thicknesses. I think that all will acknow ledge the value of grinding one surface. It may be well to correct here a very general error in reference to ground glass, viz., that it transmits more light than clear glass. Grindingalways cuts off a considerable proportionof thelight transmitted by clear glass. But at the same time, in a room glazed with ground glass, the lesser amount of transmitted light sometimes appears greater, because it is diffused more equally throughout the apartment, instead of being chiefly confined to a space near the window. The smooth surface becomes by grinding an infinite collection of little facets to transmit and diffuse the needed light.—Yours truly, Bouton, March 15. Thomas GAFFIELD.- SHADOW PICTURES. Dear Sir,—Under this heading you have published a very curious statement from another paper in your issue of February 27th. No expert in glass making would make any positive statement on the subject without seeing the glass for himself, and therefore I will only give a Yankee guess. The lens in question has probably been rendered imper fect by the operation of what the glassmaker calls rusting, and the imagination of the observer creates the forms of stars and leaves and branches referred to in the article. The writer says, “ the shadow pictures have the appearance of being ground into the glass, and they are immovable, every effort to remove them from the lens having failed.” This is often the identical action of rust. It gives the appearance of a ground surface, which cannot be removed except by a repolishing of the glass. Let the lens in question be re polished, and there will not be even a shadow of a star or leaf left upon its surface or within the body of the glass.
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