THE FADING OF MERCURY-TONED TRANSPARENCIES.
In the multitude of counsellors there is said to be wisdom. This may be true enough in the abstract, but in its special applications it may sometimes lead to bewilderment, more particularly if the counsel of one of the “multitude” be diametrically opposed to that of another counsellor.
In looking over the pages of your useful Year-Book and Almanac I find that Mr. Brooks has something to say in behalf of a process that has of late received some rude words and rough treatment at the hands of the Editors and others, the process to which I refer being the toning of transparencies by means of mercury. As Mr. Brooks has issued a great number of photo-crayons toned with this agent, it would appear that he felt somewhat uneasy at the prospects of their fading; but he says—“I now feel quite decided that, if the picture be protected by a good varnish, fading will not ensue when a picture is thoroughly toned with mercury.”
Let not Mr. Brooks nor any one else lay this flattering unction to his soul. If varnish be the ægis which is trusted to ward off the destructive effects of fading from the picture, I warn those interested from putting any trust in it; for I have in my possession several of such pictures varnished in the most faultless manner, with varnish of unexceptionable quality, which have faded away into almost invisibility. Now, as these transparencies have been prepared by myself as well as by photographers of recognised high position, including the introducer of the photo-crayon, I believe that I am warranted in assuming that every requisite care has been taken both in the toning and the washing.
I am aware that it has been said that heat is an all-important element in the destruction of a mercury-toned glass picture, and that from this cause the lantern pictures are peculiarly liable to fade, whereas those not subjected to heat will stand. I regret to be compelled to shatter the prop that is raised from this basis to support the stability of the photo-crayon; for in a series of two dozen mercury-toned lantern pictures, purchased not much over two years ago, several which have never been in the lantern or exposed to heat in any way have faded into worthlessness.
I think, therefore, from what I have said, the truth of which the Editors will attest—seeing that I send them herewith several specimens—there is only one lesson to be drawn, and it is this:—Above all things, as you value your reputation, avoid the use of mercury for toning either lantern transparencies or photo-crayon pictures à la Sarony.
Don Quixote.
NOTES ON PASSING EVENTS.
By a Peripatetic Photographer.
The Attractive Chemical Experiments for Youthful Readers, by the Editor of the Almanac, and which, I suppose, was “crowded out” of that widely-circulated annual, forms a special kind of reading that will prove attractive to old as well as youthful readers; for I believe I am quite safe in affirming that chemical “tricks” are equally appreciated by old and young. I recollect attending on one occasion an entertainment of a very attractive nature, which may be described as follows:—The lecturer, having placed on the table several glasses apparently quite clean and empty, proceeded to fill them from an ordinary decanter full of water; first, however, asking the audience to name the liquors they preferred. Suffice it to say that by request the glasses were respectively filled with what purported to be port, sherry, whisky, rum, brandy, and so forth. When milk was asked for, the white fluid was immediately produced; so with soda water, which fizzed and sparkled, and with ginger beer, the froth of which stood stiff, without subsiding. One gentleman, anathematising the temperance fluids, asked for a glass of something hot and fiery; and, in response, a glass was filled and from it issued flames of fire. As the clear glass decanter was filled with water in the presence of the audience this trick was rendered more surprising than if an opaque bottle had been employed, as is the custom with the majority of “inexhaustible bottle” conjurers. As this is not written for youthful readers, but for those who are everyday readers of the Journal, I will pay a compliment to their chemical perspicuity and assume that they know how these changes took place. However, if I hear that I have assumed too much, I will next month give the explanation of these small chemical marvels.
Who does not sympathise with a “Black-Country Foto.,” who appears to think that there is no use in his sending portraits to the London exhibition because he can’t afford to have his negatives worked upon to the degree that seems requisite to permit of successful competition? If the gossip that was indulged in by the visitors to the exhibition is to be credited, the preparing of the portrait negatives of one amateur must have been attended with no small cost; for it was asserted that he not only had skilled professional aid, but that the negatives were handed over to a retoucher to be dealt with regardless of expense. Where Dives goes in for honours Lazarus has, under similar circumstances, but small chances of success. When specimens from untouched negatives are exhibited (not necessarily to the exclusion of prints after touching), then will some grumbling cease.
The South London Photographic Society has at last quitted its old quarters in the City of London College and has removed to a more central situation. Between the convenience and elegance of Arundel Hall and the City of London College there is no comparison; and the removal ought to tell most beneficially upon the prospects of the society.
The communications already made to photographic societies this year indicate activity. At the recent meeting of the London Photographic Society Mr. Sawyer read a paper on Photography in the Printing Press, in which he took occasion to discuss the novelty of Mr. Edwards’s process, so far as its patentability was concerned. At the monthly meeting of the South London Society there were two papers—one by Mr. Dunmore, on The Cause and Prevention of Blisters on Albumenised Paper, the other being by Mr. Croughton, On Photographic versus Literal Truth. In the former the cause of blistering was alleged to be the imperfectly rendering soluble of the under surface of the albumen; in the latter (the discussion on which is deferred till next meeting) the essayist spoke of the exaggerations and distortions caused by using a short-focus lens, and he condemned the pandering to human weakness displayed by a large firm who owed its success to the amount of flattery bestowed upon its customers by the inordinate use of retouching. At the meeting of the Edinburgh Photographic Society a resumé of the progress of the past year was given by Dr. Nicol, who is of opinion that the conversion of a distorting lens into a non-distorting one is an improvement of doubtful value—an opinion in which the generality of photographers will scarcely coincide. The Manchester Photographic Society had a paper by Mr. Coote On the Good Keeping Qualities of Collodio-Albumen Plates between Exposure and Development. It is an unfortunate thing that many dry plates, after exposure, do not retain the latent image; hence the necessity for developing as quickly as possible after the camera has effected its portion of the work. As a type of processes of this kind the tannin may be mentioned, whether this substance be used as a preservative in the silver bath or the emulsion methods. Mr. Coote developed successfully a collodio-albumen plate which had been kept for more than two years after being exposed.