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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. 1150, September 17, 1880
- Digitalisat
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Zeitschrift
The photographic news
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Band 24.1880
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- Register Index 631
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Band
Band 24.1880
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SEPTEIIBER 17, 1880.] THE PHOTOGRAPHIC NEWS. 447 We have little time to speak, as we should, of the efforts sketches ; but these newspaper illustrations are capable of only by adopting a most business-like system, that so vast and intricate an establishment could be organized and tion with Mr. Woodbury to supersede engraving on wood ' In Paris, as our readers are aware, the firm of in the original design. Another obvious advantage is cheapness. To make a fine design for water-marking is very costly, fifty to a hundred pounds being sometimes spent upon it; to prac tise photo-filigraine, you may take your design whence you choose. Whatever the camera reproduces can be adopted as a design. Our host, Mr. B., indeed, hopes soon to be able to say to photographers, “Send us an impression of any portrait negative upon the sensitive tissue we forward you, between folds of yellow paper; we will then supply you with a quire or more of note-paper, in which your portrait shall be exhibited as a water-mark.” The Liver pool firm, in a word, propose to make a clever use of a | clever process. printing department alone, all engaged upon solar printing, and in the mounting and spotting branch, the hands were more numerous still, the former work being undertaken by men and boys, and the latter by women and girls. In the toning rooms, an average of 2,000 impressions pass into the bath daily; in the sensitizing room, from 130 to 150 sheets of paper are floated every day. “ We may not go in for the very highest class of work,” said Mr. B., one of the members of the firm; “ our motto is ‘Go ahead; ’ and we do go ahead as much as we can. The London branches do their own printing and finishing, but Here is something else equally attractive. Milled note paper has been popular, but people are getting tired of it, so Messrs. Brown, Barnes, and Bell propose to impart to letter writing a further charm. Here are half a dozen designs—pieces of cardboard some twenty inches high— which may be regarded as magnified sheets of note-paper. Upon each sheet is an elegant linear design in Indian-ink ; there are perhaps a score of parallel lines down the page, to aid in writing straight, and at the margin are scrolls and crests, and water-lilies, &c., &c., finished also in Indian ink. These designs will be photographed, and a block prepared by the Woodburytype process, or, rather, by a modification of it, which is familiar to many of our readers under the name of photo-filigraine. With this block, note paper will be embossed, and the result will be sheets with I a delicate water-mark design and a slightly embossed sur- face. There is this material difference, however, between (the ordinary water-mark and that imparted by Mr. twelve cartes-de-visite, 7s. 6d., or if vignetted then only or steel. half a dozen are given for this sum. Cabinets are 15s. Cd. : Goupil et Cie. have already out-distanced all others in the the half dozen, and one guinea the dozen. “ Photographs 1 mnnnec +hot hee ottendod +hai" afforte in +hie dirantion considerable improvement. It is indispensable to have a grain throughout the picture in a process of this kind, and one of the most successful plans that has been tried in Liverpool is to make the sketch upon a paper over which a network of black lines has been traced, the veil-like markings having a close likeness to that borne by reticu lated tissue. Upon this black-veiled paper an artist sketches in crayons ; wherever his point touches, a black line results, covering up the network, the result being a drawing of a somewhat degraded character, since there are no high lights. To get these he employs an eraser, or the point of a knife, which scrapesaway the black veil, and thus lays the white surface bare. Therefore, in the end, the picture is made up of three gradations, if we may so term them ; bare white paper for the high-lights, the net-work for the middle tints, and black crayon line*, more or less close, for the shadows. Of this sketch, a photograph is taken on the Woodbury tissue, which, by washing, is made into a mould, and from this mould a plaster cast is secured. It is then a comparatively easy matter to get a type-block from the plaster cast. At Bold Street, there may be said to be three reception rooms, one above the other, on the ground, first, and kept going ; and when we mention that not only portraiture, but all sorts of miscellaneous work, is likewise undertaken by the enterprising Liverpool firm, it must be a good sys tem indeed to work without a hitch. The head-quarters office is at Bold Street. We pass by a fine collection of photographs, in which the new panel or promenade pictures are conspicuous, and walk upstairs. The firm desires that we should see something of what they propose to do in the future, before we proceed on our visiting round. Imprimis, there is a handsome folio volume to admire, “ The Pictorial Rielics of Ancient Liver pool.” Fine paper and bold type are seen in conjunction with some exquisite, rare, reproductions of sketches made half a century ago and more, of Liverpool ; the sketches, seventy-two in number, were collected from many portfolios, their owners placing the pictures freely at the dispos 1 of the firm, who were thus enabled to produce the magnificent volume before us. “ It’s not bad for a provincial production ” said Mr. B., in reply to our enco- niums, and, indeed, Liverpool is fortunate in possessing such “ pictorial relics.” When will London have such a volume, we wonder ? We have inspected a good many studios, both in this j Woodbury’s ingenious process: in the former the markings country and abroad, but as a photographic establishment are formed by lines uniformly transparent and of consider- which does not publish work, that of Messrs. Brown, 1 able thickness. The photo-filigraine process, on the other Barnes, and Bell is by far the biggest that has come under । hand, not only permits the formation of very fine lines, our observation. We counted a score of employes in the ■ but will reproduce half-tones as well, if these were present Glasgow, Birmingham, Edinbro’, Manchester, Leeds, Brad ford, Wigan, Henley, Southport, Bootle, Nottingham, and Newcastle, all send their negatives to us at Liverpool. In short, the firm’s object is to cater for the million and : not for the few; their ambition is to do good work of a Messrs. Brown, Barnes, and Bell are making in conjunc- good class and at a moderate cost. Here are the prices : On approval, the negative, together with the order, are sent to head-quarters to be dealt with. The first proof from every plate is pasted on a sheet of r , paper, or printed schedule, which is filled in with the ! present their efforts are more particularly directed towards necessary particulars, and the colour of this sheet, whether j turning a draughtsman’s sketch into a type-block for yellow, blue, red, orange, &c., indicates the locality from printing. A French publication—“La VieModerne”— which the photograph has been received. Obviously, it is i already exists, which employs the camera to translate its An I « L x AAemt:. c • • AC + kucinAcc 1 ; 1- r, cvc+A m + h A + c A { r A c + cl+hAc • hut +LACA m mirn m AMAT illc+netienc A.A An m . k 1a AE uu nau uuzen, auu cuc gunca vuc uuau. . acugiapu [ success that has attended their efforts iu this direction, to be paid for at the time of sitting,” is the universal rule. J and there are now to be seen mechanical portraits that •—-1 tooathaw ™;n +ha o"dan ora cause us to rub our eyes, and doubt whether it is photo- | graphy or a true engraving we are looking at. The ' Liverpool firm is a competitor in the same race, but at Bt ome, MESSRS. BROWN, BARNES, AND BELL AT LIVERPOOL. There was no reason to go all the way. to Liverpool to visit a studio of Messrs. Brown, Barnes, and Bell, for London contains two of their establishments, and there are a round dozen of others in the principal towns of Great Britain. But it is at Liverpool that the firm is “at home,” and to Liverpool we accordingly journeyed. Even at Liverpool we did not visit the whole of the premises occupied by the firm. We were, we frankly admit, only at the principal studio in Bold Street, and at the principal printing and mounting establishment in Mount Pleasant; but it will be difficult, nevertheless, within the space of this article, to give an adequate account of what we did see of the doings of this enterprising triumvirate of photographers.
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