The photographic news

• Bandzählung: 24.1880
• Erscheinungsdatum: 1880
• 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-id1780948042-188000001
• PURL: http://digital.slub-dresden.de/id1780948042-18800000
• OAI: oai:de:slub-dresden:db:id-1780948042-18800000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Bemerkung: Exemplar unvollständig: Seite 1-82 in der Vorlage nicht vorhanden
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

JUNE 18, 1880.] THE PHOTOGRAPHIC NEWS. 297 to be your cicerone for one day’s ramble. The whistle is blown, the train stops, and the porter shouts Che-ddar ! Outside the station Ge-arge waits expectantly with his waggon, looks so beseechingly—so ill-used, in fact—that it would be a pity not to indulge in fourpenn’orth ; for that small sum he will drive you all through the straggling village, right up to the entrance of the pass that divides the towering cliffs. To the left you observe the Cliff Hotel, and, hat in hand, here is “ mine host,” come forth to bid us a hearty welcome. Please observe “ mine host”; he is no common country inn-keeper, he is affable, polite, very polite (indeed I once heard a timid gentleman with a stutter observe that his “ po-po-politeness w-was tru-truly ter-terrifying ! ”) but he has no base servile manner with him, he is polite, not cringing, and—and his bottled stout is excellent. Now, having refreshed ourselves, we will go and have a look at “mine host’s” gardens. Within two steps of the back entrance we are chained to the spot in admiration ; to the left plays a sparkling fountain—before us rises a mass of rich foliage—to the right flashes, dashes, and roars a waterfall, the whole backed in with huge towering cliffs. Let the amateur, the holiday-maker, or my brother pro.’s, spread their tripods here, and let it be the first thing in the morning; the shadowed light on the rushing water, the piercing sunlight on the overhanging foliage, the gray cliffs glistening above, all blend together so sweetly that without a doubt he must be a very poor hand that cannot make a picture of such a scene. If the amateur likes, he can find enough to do in “ mine host’s” grounds during his holiday, there being all manner of quiet spots and grottoes scattered over the place. To the more ambitious brethren, I would now advise a move along the road, first paying a visit to friend Cox’s stalactite cavern. By the way, Mr. C.’s cave has never been photographed, and as he has kindly granted me per mission to do so, I shall perhaps at a future date give my experience upon it. It is lighted by gas, and I mean to try dry plates, so I expect I shall have something of interest to tell you. We now pass along the road, and presently come in full view of the famed Lion Rock. At a certain angle of the road you can get Rose Cottage right underneath; at this point you will get a charming view. Move a little further up the road and turn your camera round towards your first point of starting, and then you have as beautiful a bit of water and woodland as it has ever been in my power to photograph. Move further along the road, and if your taste lies in towering crags covered with brambles, golden gorse, and brackens, you may revel here to your heart’s content. There is nothing in Scotland can equal the grandeur of these cliffs. I have roamed round dark Lochnagar ; I have trod the sterile wastes of Glencoe and Glenshee ; I have seen the thunder-cloud burst over the smoking peak of Heckla, but never have I witnessed anything to equal in terrific grandeur a storm on the Mendips I Possibly it may be that Cheddar cliffs being so close together, when the lightning comes it gives it that Gustave Dore effect that I have never seen elsewhere. I am going to be down here for some time yet, and if I can catch a proper storm I will send it to you. I have done all the stationary bits about, and I should so like to catch one of the flying. I will now leave you and let you pick out your own scenery, promising to meet you at the Cavern where Ge-arge, with his beseeching look, awaits to drive us to the station. With a dozen dry plates and a convenient dark box, an amateur or a brother pro. would find Cheddar one of the most delightful spots to smoke away a few days and gain time to straighten up his back for the sterner realities of life. I only hope you will enjoy your holiday as much as I am doing mine. FRENCH CORRESPONDENCE. PaOCESS FOR the ‘TRANSFER of Negatives—Praxinoscope of M. Reynaud—Different Methods of Flowing Gela tine over Glass—Photographs of Interiors by M, Laurent, of Madrid—Employment and Solubility of Salycilic Acid. Process for the Transfer of Negatives.— M. Arentz des cribed, at the last meeting of the Photographic Society of France, an ingenious process for transferring negatives which he had for some time worked in the studio of M. Dujardin. There are many processes of this kind already in existence, but this one by M. Arentz can be recommended as being both simple and expeditious. In order that my readers may have an opportunity of trying this process, and of satisfying themselves of its superiority to others of the same kind, I give a short account of it. Let me premise by saying that the whole operation of removing the pellicle of collodion from the glass plate and transferring it to some other support need not occupy a longer time than a quarter of an hour. In the first place, a solution of three grammes of manufactured caoutchouc in one hundred of benzine is made and carefully filtered ; next, raw collodion must be prepared of the same density as that used for taking the negative. The plate, having been retouched when neces sary, but not varnished, is then coated with the caoutchouc varnish, after the same fashion as it would be originally coated with collodion, and is placed to drain and dry for a few minutes. Afterwards, when the benzine has sufficiently evaporated, it is collodionised over the caoutchouc varnish with the raw collodion, and again left for a little while to dry ; the film is then cut with a penknife all round the edge of the glass to the size required. Two pieces of any kind of paper are next taken of the same shape as the plate, but of slightly larger dimensions than those of the pellicle when removed from the plate, and one of these pieces is plunged into a basin of water; it is placed, still wet, on the film. With a roller, formed of a cylinder of wood inserted in a piece of india-rubber tubing, the damp paper is made to adhere to the film ; when now a corner of the paper is turned back, and the corresponding corner of the film carefully raised with the blade of a penknife, and turned over it, the whole paper, by a slow but continuous motion, may be pulled off the glass, bringing the collodion pellicle with it. We have thus the negative removed from its original support, and stretched on the surface of a sheet of paper, to which it adheres by reason of the humidity of the latter. In this state it could be left to dry, and could then be used in its pellicular condition, but if it be desired to simply invert the negative while keeping it attached to the glass, the second sheet of paper above mentioned must be taken and wetted in the same way as before. The first sheet, with the pellicle attached, is then placed on a glass plate, the pellicle being upwards, the second sheet laid over it, and the superfluous moisture pressed out with a roller. By the same manipula tion as in the former case the second sheet of paper may be stripped off, bringing with it the negative in its original position. A glass plate is then coated with a solution of gum-arabic in water, the negative on its paper support is placed over it, and pressed on to it with the roller ; the paper is again removed, and the pellicle remains adhering to the glass, but the negative is in a reversed position. It is better to do without the varnish, because, as as it shrinks in drying, it causes the negative to wrinkle; besides, the surface of the plate is quite hard enough with- out the varnish to resist any rubbing. The reversed negative is not quite so large as the original plate ; it shrinks about the millimetre in every thirty-two centimetres of length. M. Arentz states that by this method he can also transfer films of gelatino-bromide, a fact of great interest now that the gelatine plates are coming more and more into use. I have myself seen the whole process very successfully carried out, and as a means of reversing negatives is often required, I have had no hesitation in describing all its details.