Photo-Engraving Primer: Concise Instructions for Apprentice Engravers or for Those Seeking Simple Yet Practical Knowledge of Line and Half-Tone Engraving (Classic Reprint)

Excerpt from Photo-Engraving Primer: Concise Instructions for Apprentice Engravers or for Those Seeking Simple Yet Practical Knowledge of Line and Half-Tone Engraving

The preface to the firstedition was written a generation ago and the chief change in photoen graving since then is the introduction of the color sensitive emulsion dry plate for color plate making. Instructions for handling dry plates are told briefly in this revision of the original Primer. It might be said here that in the author's opinion, for black and white reproduction, the wet-plate method of negative making still gives sharper lines than a gela tin emulsion plate. One reason for this is that the silver image is as thin as a soap bubble on the surface of the wet collodion. With emulsion on a dry plate, the grains that form the silver image are buried in the gelatin emulsion at different depths and therefore cannot give the sharp-edged line of the wet plate. A proof of this is that photoen gravers, who lead and take pride in the excellence of their black and white reproduction, cling tena ciously to collodion and the silver bath, thus re taining their patronage, owing to better results. The most successful photoengravers keep separate their wet-plate, black and white gallery from their dry-plate, color studios.

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