English v. French photogravure.
And here we would caution the gentlemen of the press who have lately written so freely and so mistakenly on the subject of photogravure, that the best photogravures are not produced in France, but in England. Englishmen do not seem to know when they possess a “good thing.”
We venture to say, without any diffidence, that for the reproduction of negatives from nature, Dawson’s process is facile princeps, and to assert that for the reproduction of pictures, some of the English processes are equal to, if not superior to, the continental processes. This is also the opinion of several artists who have seen specimens of the work done in both countries. The process, as worked in America, does not give results equal to those obtained in England. For diagrammatic purposes, we consider nearly all of the English processes possess qualities of equal value.
Another new departure for which we had some battling was a minor point, but an important one. It was on the question of lettering. It had been the practice of many of the firms to engrave in plain lettering beneath the picture, the name of the firm, and the words “negative by ——,” and often in addition the word “copyright.” This engraving, as it was usually done, gave a “cheap” look to the picture. We felt that the picture was injured by this procedure, so we insisted that our name should be cut in the picture, in a quiet manner, as an etcher would sign his name, and that no ordinary engraving should appear on the plate. In case, then, our student should at any time have any of his works reproduced, we will give him a few hints, for though the publisher does the business part, the artist always has the passing of the plates.
Hints for those having plates reproduced by photo-etching.
When sending his plates, then, to be bitten, he should send a well-printed platinotype print with them, a print having just the effect he wishes for in the copper-plate. If clouds are to be introduced, the cloud negative should be sent as well. He will in due time receive a proof, which he must go carefully over, making any notes on the margin as to re-biting, &c. If it be retouched or utterly bad, it must be rejected. Of course, it is here evident that his art knowledge will come in, for if ignorant of art, how can he make remarks to the “biters” who are often artists? He must continue asking for proofs until he receives a satisfactory one, for no plate can be forced upon him if he can prove it to be wrong. If he have real grounds for objection, he will find the English firms most generous, for they take a pride in their work. They have, in some cases, made as many as three plates from a subject for us, with no extra charge, and this we could never get a French firm to do. When he approves of the plate, he signs the proof to that effect. Then comes the great question of “colour,” that is the coloured ink to be used; for one of the great advantages in photo-etching lies in the number of colours and shades of colours which can be used. Here, again, his artistic knowledge comes in, and he will find the effects produced by different colours are marvellous. Having, then, suggested his colour and tint, he will receive proofs printed in them, and he finally decides upon the tint suitable for each plate, and these are kept as standards on a file. The matter of printing papers, too, offers great variety and scope for artistic selection; but here the student will find he has not a free hand, the publisher often limiting his choice in that on financial grounds. The student must see, however, that if India paper be used, an unsuitable tint be not selected. For example, India paper may be yellow or white, obviously then, if the plate is to be printed in bartolozzi red, white India must be used, and not the ordinary yellow-tinted India. The student must be careful when sending his platinotype print, to cut it exactly to the limits he wants the picture on copper. Copper-plates can be produced in this way from prints in cases where the negative has been broken. If the sky is not an important part of the picture, it is better to have it a flat grey tint, or delicately gradated. The student, of course, remembering certain physical truths, as, for example, that still water is, as a rule, lower in tone than the sky which it reflects, &c. The best test of relative value of sky and water is to turn the picture upside down. All these subtleties must be carefully considered, for a sky lower in tone than the still water reflecting it, would, with rare exceptions, be a fatal artistic error, and enough to condemn the plate. The details which thus go to make or mar a picture are countless.
W. L. Colls on photo-etching.
This, then, is our experience of the photo-mechanical processes, and, as we make it a rule never to write on anything we have not full practical knowledge of, we have asked our friend, Mr. Colls, to write us some particulars of these processes. We have done this because there are certain misleading books in the market on the subject, written by men without such special knowledge as can only be obtained by a man who has worked at the process for years and at nothing else, and who is, in addition, an artist. Mr. Colls is both a specialist and an artist in this work. In our opinion the future artists who practise photography will also photo-etch their own plates, which is greatly to be desired, but since these processes are at present kept very secret, this knowledge cannot now be acquired. Nevertheless, we feel that the day is not far distant when every artist who expresses himself by photography will also bite his own plates and make his own blocks, and the prints will be published by print-dealers as etchings are now. This, in our opinion, is the only method which can give full artistic satisfaction. A final important consideration is the number of good prints which can be pulled from each plate. Dawson’s plates, being bitten deeper, will obviously stand more wear and tear than the others, and will produce a greater number of good impressions. Mr. Colls thinks that at least 3000 good impressions can be pulled from each plate, if the steel-facing will last. We append Mr. Colls' remarks:—
METHODS OF REPRODUCING NEGATIVES FROM NATURE FOR
THE COPPER-PLATE PRESS.