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The photographic news
- Bandzählung
- 24.1880
- Erscheinungsdatum
- 1880
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- Englisch
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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. 1146, August 20, 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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400 THE PHOTOGRAPHIC NEWS. [August 20, 1880. For carrying out the process are required two small pre cipitating glasses, in one of which is a funnel with a filter ; further, some perfectly flawless plate-glass plates, a couple of porcelain evaporating basins, an iron plate-holder, an iron or steel plate, a spirit-lamp, blotting-paper, encaustic colours, a camel’s-hair dusting-brush, and a copying-frame with glass plate. The glass plates must first be thoroughly cleaned in the usual way. Some of the sensitive solution is then poured into one of the precipitating glasses, and from thence flowed over a glass plate (previously carefully dusted) like collodion, the superfluity being run off at one of the corners on to the funnel. The plate must be held in a somewhat inclined position, with the corner where the superfluous solution was run off downwards, and it is then placed in the same position on blotting-paper to dry. The spirit lamp is now lighted, and placed under the plate holder ; on this latter is laid the iron plate, followed by two or three layers of blotting-paper, and finally on the top of these, the coated plate in a slightly inclined position. By this arrangement the plate is dried at a moderate heat. So soon as the upper surface has become clear and hard, the plate is ready for exposure. The transparent positive is now placed film upwards in the copying frame, and on it the prepared plate film downwards; the frame is then closed, taking care that the plates do not rub against each other. As it is not easy to say beforehand what is the neces sary length of exposure, the beginner will do well, before commencing, to work a trial plate, and to arrange accord ingly. As a general rule, twenty or thirty seconds will be found to be sufficient in fine summer weather ; if the light be dull, it will take as many minutes. The magnesium light may be employed, giving an exposure of from one to two minutes, according to the density of the positive. As is the case in carbon printing, a photometer may be used with advantage to determine the length of exposure. In cold weather, not only must the prepared plate be placed in the copying-frame in a warm state, it must also before developing be again dried and allowed to get cold. The hygrometric condition of the air during the whole process is a factor of importance, for if the film be moist the colour will run. On this account developing must be effected in a warm room, and the use of the hygrometer to ascer tain the relative moisture of the atmosphere is recom mended. On removing the plate from the copying frame, the film will occasionally be found to already show an image, though this is not always the case. Taking now the plate in the left hand, throw on it with the right some of the incaustic colour in a powdered state out of a tin box, spread it over the surface with a soft gilder’s brush, and return the excess to the box. Next lay the plate on one side for five minutes to let it absorb moisture from the atmosphere ; this interval may be employed in developing some more plates, though is is better not to attempt to de velop simultaneousty more than three or four plates. Dusting on the colour should be repeated altogether four times at intervals of from two to ten minutes, but it must be discontinued as soon as the image reproduces all the modelling of the transparent positive. It is of the greatest importance to determine accurately the requisite length of exposure; practice alone can ensure this being properly effected. It must not be forgotten that in exposing the plate in the dusting-on process the circumstances are just the opposite of those in other photographic processes; the shorter the exposure the darker will be the image, and vice versa. It will be found to be an excellent plan to take 'three prints of each picture, and of these to fire only the best one; there is always one which turns out better than the others, and it is not worth while firing an inferior impres sion when it is so easy to take fresh ones. In order to judge correctly the excellence of the print, lay the plate carefully with the film downwards on a piece of white paper, which must be perfectly dry, or the colour will be smeared. It should be remembered that moisture plays the principal part in the dusting-on process. In very dry weather it may happen that, though the print has been thoroughly developed, it does not possess the requisite vigour; this is a sign that it has been suffi ciently exposed, but that the non-exposed parts are not moist enough to be sticky. In this case—but only in this case—breathe slightly on the plate, and then dust-on more of the colour. (To be continued.') PHOTOGRAPHY IN AMERICA. BY t. M. It may interest those of your readers who are not already versed in the art of photography as practised in America to peruse some experiences of one who has been there. I started from London after serving an apprenticeship with a first-class West End House. On my arrival in New York I made the acquaintance of an artist who was pre paring to start a high-class studio. He wished me to make myself acquainted with the mode of working in the States; accordingly I procured introductions to one or two of the best operators in the city ; these gentlemen, without any prejudice or jealousy, kindly showed me over their establish ments, including studios, dark-rooms, mounting rooms, printing departments, &c., &c., and inducted me generally into their system of working. I found everything furnished upon a much more liberal scale than I had been accustomed to in London, I may add also much cleaner; in one dark-room (a roomy one not “cabined, cribbed, confined’’) I never upon any occasion saw a speck of dust, a bottle or piece of apparatus that was not actually in daily use, or that would be likely to accumu late dust and dirt; everything clean, orderly, and in its place. Regarding formul and method of working, I soon found that I knew very little practically about the art; theoreti cally I was a good manipulator, coming with credentials from a metropolitan studio, and having in London produced good work; but I had been accustomed to buy my collodion of Thomas, or Mawson, and to send to Thomas for a new bath when the old one failed. Developer I had certainly made myself ; also intensifying and fixing solutions; but for the main and principal agents in producing a negative I had depended entirely upon chemists, hence I was all at sea in New York. I found the Americans all make their own collodion, bath, &c., procuring their chemicals principally from a Phila delphia firm, Messrs. Powers and Weightman; when their bath gets old they don’t send it to a chemist, but boil it down themselves over a gas-stove or ordinary hard coal stove, and remake it—all of which I had to learn as if I were quite a tyro. For chemical purposes they use water which is the same as supplied to the houses for drinking, and, in fact, all domestic purposes ; it is called Croton water, from the Croton springs, a few miles out of the city ; this water is so pure that it does not require distillation, but dissolves your silver without the slightest turbidity, which simplifies matters con siderably for a photographer. No redeveloper is required, iron being sufficient in all cases ; indeed, intensifying a nega tive is unnecessary in America, except in the case of some few copies of maps or prints, where a very white background is required ; but for portraits it is never used. 1 attribute this to a great extent to the great actinism of the light from the almost invariable blue eky summer and winter alike. Studios are nearly all painted blue, as in England, a north light being obtained where possible, and glazed to within a foot or so of the ground. Both ends are used in a large busi ness such as 1 was accustomed to, the positionist alternately
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