DOI Artikel:
Norman W. Carkhuff, Carbon and Gum Prints on Japan Tissue
DOI Artikel:J. [John] B. [Barrett] Kerfoot, Silhouettes
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.30318#0044
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The print can now be rinsed and placed in alum or sodium bisulphite
to eliminate the bichromate, washed again, and permitted to dry on the glass
support. After drying it should be carefully stripped from the glass and is
ready for mounting.
The tone of the picture can be modified by backing the print with
colored paper.
If old collodion is on the glass, the print will be almost sure to stick.
Rubbing the glass with talc will facilitate the removal of the print.
If the collodion is flowed on the paper, the result will not be satisfactory,
the collodion must penetrate the paper instead of setting on the surface.
Gum-bichromate prints can be made on Japan tissue-paper by the same
method, giving but one coat of collodion, permitting this to dry thoroughly,
then coating with the gum-bichromate mixture and proceeding as usual in
working this process. Norman W. Carkhuff.
SILHOUETTES.
I HAVE BEEN asked to give the details of silhouette-making with
a camera. The process is simple in the extreme if one but has access
to the one indispensable accessory—a window giving upon the open
sky. This window is like charity. Though you speak with the
tongues of men and of angels, though you have faith to move moun-
tains and a hundred-dollar lens, if you have not the window, it is nothing.
Given the window, open if possible, pose your sitter before it, focus sharply,
stop down to F/32 and expose one second. Use a Contrast plate and
develop with
Solution A: Solution B :
Water. . . . 500. ccm.10% solution of
Hydroquinone . . . 10 grammes Carbonate potash, anhydrous.
Sodium sulphite, anhydrous, 20 grammes
Using equal parts of A and B.
Carry your development to the extreme limit, remembering that your
object is clear glass in the shadow and high lights too dense for sunlight to
print through. Having achieved your negative, remains to block out the
bust. Here simplicity vanishes. There are six and ninety ways of cutting
each figure and only one of them is right. Lay your negative face down on
a white surface and experiment with black paper cut-outs. When you get
what you want, paste it in place on the negative. Don’ttry the brush.
Good models will be found on coins, medals, and the United States stamps
of the 1872 issue. Study them. J . B . Kerfoot.
40
to eliminate the bichromate, washed again, and permitted to dry on the glass
support. After drying it should be carefully stripped from the glass and is
ready for mounting.
The tone of the picture can be modified by backing the print with
colored paper.
If old collodion is on the glass, the print will be almost sure to stick.
Rubbing the glass with talc will facilitate the removal of the print.
If the collodion is flowed on the paper, the result will not be satisfactory,
the collodion must penetrate the paper instead of setting on the surface.
Gum-bichromate prints can be made on Japan tissue-paper by the same
method, giving but one coat of collodion, permitting this to dry thoroughly,
then coating with the gum-bichromate mixture and proceeding as usual in
working this process. Norman W. Carkhuff.
SILHOUETTES.
I HAVE BEEN asked to give the details of silhouette-making with
a camera. The process is simple in the extreme if one but has access
to the one indispensable accessory—a window giving upon the open
sky. This window is like charity. Though you speak with the
tongues of men and of angels, though you have faith to move moun-
tains and a hundred-dollar lens, if you have not the window, it is nothing.
Given the window, open if possible, pose your sitter before it, focus sharply,
stop down to F/32 and expose one second. Use a Contrast plate and
develop with
Solution A: Solution B :
Water. . . . 500. ccm.10% solution of
Hydroquinone . . . 10 grammes Carbonate potash, anhydrous.
Sodium sulphite, anhydrous, 20 grammes
Using equal parts of A and B.
Carry your development to the extreme limit, remembering that your
object is clear glass in the shadow and high lights too dense for sunlight to
print through. Having achieved your negative, remains to block out the
bust. Here simplicity vanishes. There are six and ninety ways of cutting
each figure and only one of them is right. Lay your negative face down on
a white surface and experiment with black paper cut-outs. When you get
what you want, paste it in place on the negative. Don’ttry the brush.
Good models will be found on coins, medals, and the United States stamps
of the 1872 issue. Study them. J . B . Kerfoot.
40
