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The photographic news
- Bandzählung
- 24.1880
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- 1880
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- Bandzählung
- No. 1120, February 20, 1880
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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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94 THE PHOTOGRAPHIC NEWS. LFEBRUARY 20, 1880. process. Take first a solution of 2} grammes of silver surfaces for jewellery, &c.” It scarcely needed Mr. Wood bury’s remonstrance, as I was quite aware of his priority in the invention, and I merely wished to point out M. Hanne- tier’s process as an industrial application of the ideas both of Woodbury and Poitevin, but not in any sense as possessing the merit of originality. There are so few who endeavour to apply photographic processes on a commercial scale, or for an industrial object, that any attempts in that direction are deserving of all encouragement. Leon Vidal. useful purpose to which M. Leclerc’s process can be I Mr. Woodbury's Gelatine Moulds.—Some remarks in my applied. I last letter on the process of M. Hannetier for producing An Easy Method of Siloering Glass.— While I am on this I encaustic enamels by means of gelatine moulds have in point I will give here a simple method of silvering glass for I duced Mr. Woodbury to draw my attention to the patent the benefit of those who desire to attempt M. Leclerc’s I which he took out in 1866 for “producing ornamental nitrate in 32 grammes of distilled water, and precipitate by adding ammonia drop by drop, stirring the whole time with a glass rod, until the brown precipitate produced is partly redissolved. Filter, and add enough distilled water to make 50 grammes of solution. For the reducing solution, dissolve one gramme of the double tartrate of potash and soda in 32 grammes of distilled water. Put it to boil in a glass capsule, and add 2 drops of a solution of crystallised silver nitrate in water. When it has boiled for five or six minutes, let it cool, filter, and add enough distilled water to bring it up to 50 grammes. To coat the glass, clean it first with nitric acid, and then place it on supports in a flat dish full of the silvering solution in such a way that its lower surface only touches the liquid. Great care must be taken that no bubbles of air interpose between the surface of the glass and that of the liquid, or they will give rise to bare spots. Sunlight or heat will facilitate the reaction. The liquid will at first blacken during the opera tion, and will then grow clear again in proportion as the deposition is effected. At the end of from half an hour to an hour the silvering will be complete, though sometimes it takes an hour and a half. When it is quite finished the glass is taken out of the bath and rinsed with distilled water, and so soon as the mirror is dry it is coated at the back with bitumen. If it be intended to keep it as a mirror only, it should be coated with some kind of elastic varnish, not liable to scale off, for if this should happen the mirror would be spoiled. The Keeping of Gelatine Emulsion.—Piquee, a photo grapher at Troyes, has observed that gelatine emulsion can be kept under water, aud that when it has been kept in this way for a sufficiently long time, its sensitiveness will be considerably increased; this, of course, is owing the fact that decomposition of organic matter is avoided. His experi ments have extended over a period of twenty days. M . Balaguy, who is a very skilful operator with gelatine plates, is of the same opinion ; he keeps his emulsion in a state o coagulation without being compelled to reduce it to the form of pellicle. This object he attains by placing his stock of emulsion in a cool place, and filling the flasks in which it is kept up to the top, so as to expose only a small surface to the air. A few drops of alcohol poured on the surface of the coagulated emulsion materially assists in preserving it, or a small quantity of solution of ammonia has the same effect. Photographic Etching on Copper.—My attention has lately been drawn to a new process for the production of line or stippled drawings, and as it seems to me to be worthy of notice, 1 give a short description of it. A copper plate is first coated with bitumen on the turning table, in the same way as in photo-zincography, and when the bitumen is quite dry an impression from a lithographic stone on trans fer paper is applied to it ; when this paper is removed, we have a copy of the impression in fatty ink on the bitumen surface. This surface is then dusted with fine bronze powder, which adheres to the inked portion, and renders them quite opaque. If, now, the surface be exposed to the light, the bitumen not covered by the powder will be rendered insoluble ; on the plate being placed in some solution which dissolves the bitumen, the copper will be laid bare in the parts not acted on by light. These parts can then be etched in by a concentrated solution of iron perchloride, and when the depressions are sufficiently marked, the action of the mordant is arrested, and all the undissolved bitumen is removed. We have in the end an intaglio engraved plate. This process is very well adapted for line or stippled drawings, but it will not answer for the reproduction of those with half tones. PHOTOGRAPHIC SURPRISES. BY REV. F. F. STATHAM, M.A.* By “ photographic surprises,” I would desire to include an extended class of effects, produced by the aid of the camera, which, in their complete state, serve to excite the curiosity or the amusement of the public, and in some measure to justify the occasionally lengthy correspon dence which we have seen in our scientific journals to ex plain and account for them. They may be said to range from works of such rare art and skill as Mr. Robinson’s well known “Gull by the Seashore,” or Mr. Gale’s "Swal low over the Pool,” to such amusing effects as the once- popular “ spirit ” photographs, or the ingenious “ Lapdog ” lying on a fleecy rug, which, when turned upside down, presents the appearance of a very grotesque face. I have purposely mentioned examples at the two ex tremes—not with any idea of classing the productions as of similar or even comparative merit, but merely to show that photography has in these later days been utilised as well to excite a laudable curiosity as to administer to an innocuous source of amusement. Now I have heard some critics of the severe school denounce all such attempts to stimulate (as they would call it) idle curiosity, or to pander to the mere love of merriment, as beneath the dignity of photography as a science and an art; but I am prepared to argue that this is not a necessary conclusion to be deduced. Take painting, or sculpture, or engraving, for example— universally ranked among the noblest of the fine arts— are their professors considered as demeaning themselves when they leave for a time the higher aims of their pro fession, and unbend a little for the entertainment of the public ? From Zeuxis and Parrhasius downwards painters have occasionally been in the habit of amusing their leisure hours by some of these playful exercises of the brush. It is clear, then, that painting as an art is not debased or degraded because, occasionally, some of its votaries have indulged in a sportive mood ; and did time permit I could show that sculpture also has now and then thrown aside the severer style, and lent itself, even among the ancients, to the purposes of merriment and wit. And the moderns are not behindhand in availing themselves of the same legitimate source of popularity. I take it, then, for granted, that there is nothing derogatory in the occasional unbend ing of the professors of a high art; and if poets and pain ters and sculptors and others, exercising what are acknow ledged to be the highest professions of art, may do this, why should photography be debarred ? Now I have an object in view in asking this question seriously; for I think it may open up some sources of pro fitable employment to the profession during their leisure hours if it be answered favourably. One can easily conceive that there are many men who, during the long interval between the close of the autumn and the beginning of spring, in this our cloudy and foggy climate, have mny * Condensation of a communication to the South London Photographic Society.
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