Albert Levy . Photographer. The Philadelphia Photographer. The British Journal of Photography Albert Levy's letters

 

 Graphic Arts Collection

 

An Index to the Original Photographs in “The Philadelphia Photographer”

For nearly 40 years, Edward Livingston Wilson (1838-1903), published the most influential photography journals in the United States, beginning in January 1864 with The Philadelphia Photographer, later renamed Wilson’s Photographic Magazine. Unlike other journals of the day, filled with reproductive wood engravings, Wilson understood that actual photographs needed to be seen for his audience to appreciate this new art form and so, ‘it was determined that a photographic study should accompany each number.’

From 1864 to 1901 (when photographs were replaced by halftones), Wilson published 540 prints by 280 photographers from 142 cities in 16 countries. Within the United States alone, negatives were sent by photographers in 33 different states, remarkable given there were only 36 states in 1864 and 44 by 1890.

 

The Philadelphia Photographer Albert Levy mentions.

 

 

 

  • The Philadelphia Photographer:

Levy's activity in the United States can be documented in one of the most prestigious magazines about photography in the XIX century:

 

The Philadelphia Photographer
An illustrated monthy journal
Devoted to photography
Edited by Edward L. Wilson Publisher and propietor
Nos 912&914 Chestnut Street

 

We can read, in several publications of this magazine, the participation of Albert Levy in the Centennial Exhibition of Philadelphia in 1876, adversitements for selling pictures, and, more important, serveral articles about the French Emulsion, the Dry plates. As said before, Levy was an early competitor of Eastman for the comercialization of the dry plates. This invention helped much in the development and expansion of photography.

All data onwards in this section has been gathered thanks to the digitalization of the magazine, done by the Boston Public Library. It allows embeding copies of the magazine. Hereby, there is a short explanition of each reference, but we strongly recommend to fully read each of the vintage articles.

All this information demonstrates Albert Levy's activity in the United States, and the recognition achived in the United States XIX century photography.

 

  • Reference 1
    • Philadelphia Photographer August 1876 vol XIII nº 152
    • There are comments on the photographers that participated in The Centennial International Exhibition of 1876, held in Philadelphia.
    • ....Photography in the Great Exhibition. Photographic Hall as it becomes more and more complete, grows in beauty and atractiveness..........
      ....The second exhibit on this screen is a collection of architecturial views by Mr Albert Levy,77 University Place, New York, two frames being marked as "United States" and the third "Europe"

     

  • Reference 2
    • Philadelphia Photographer May 1878 vol XV nº 173
    • There is a long article explaining the benefits of Albert Levy's dry plates, at least one year before George Eastman's patent (1879 - Eastman invented an emulsion-coating machine which enabled him to mass-produce photographic dry plates. (Kodak)).

    • Levy's French Photographic emulsion

      A great deal of interest prevails in the growth ot the emulsion process, and the practical photographer is waiting patiently until some one develops a method for working emulsion sufficiently certain reliable and speedy, to warrants its introduction into every day practice, or, in common parlance, that will be "as good as wet"
      A number claim to have yet been found have done so fully.
      There is one gentlemean, however, Mr. Albert Levy of New York, to whom much credit is due for having made great progress with emulsion, and who, so far as we know, more progress than everyone else.
      He has simplified the manipulation so much as easy as the "wet process"
      ... Dry plates, far more than wet, are disposed to loosen on the edges and lift from the glass to obviate all possible danger of such an occurrance, the use of an ending prepared and for sale by Mr. Levy is recommended.

     

  • Reference 3
    • The Philadelphia Photographer Vol XV November 1878 nº 179
    • Publicity of the Dry Plates in a letter form. Dated 14th June, 1878. The text praising Levy's dry plates is signed by H.W. Wickham, which residence is in New York.
    • ..........I purchased of Mr. Albert Levy one dozen of his Dry Plates on trial and the result so much exceeded my expectations that  I really began to think that I was a photographer

     

  • Reference 4:
    • The Philadelphia Photograph Vol XV December 1878 nº 180
    • Advertisement of the French Emulsion where Levy indicates that he is the sole propietor and that the plate carries his signature.
    • Unequalled for rapidity ( fully equal to the both plate) intensity to any degree on simple developement without silver or other intensifier and absolutely permanent and without change.
      Albert Levy sole propietor
      Preservative for dry plates ( more rapid than wet). Also prepared Dry Plates ready for use and photographic chemicals at lowest market prices always on hand.
      Price list on application
      N.B. All dry plates made with my emulsion bear my signature

  • Reference 5
    • The Philadelphia Photographer Vol XV August 1878 nº 176
    • In a long letter by Albert Levy he gives intructions on how to work with his product.
    • Levy’s emulsion plates
      A letter from
       Mr.Levy
      ......A great trouble with emulsions having always been found in their liability to lift partly or fully from the plate,especially after the fixing , I manufactured an improved edging fluid, which is now largely used and pronounced invaluable
      ..........I am glad to be able to say that with my emulsion dry plates,as made by me or by others with my emulsion and preservative, well lighted views can be taken  with an ordinary Darlot lens....

      •  

     

  • Reference 6
    • An advertisement of his views of architecture.
    • For sale very cheap.  A splendic collection of about twelve hundred negatives of architectural views from Europe and the United States Size 8x10. Adress : A. Levy 4 Bond Street New York

     

  • Reference 7
    • The Philadelphia Photographer Vol XVI  October 1879  nº 190
    • A long article about cyanotipes titled "Printing in blue".
    • .....Mr. Albert Levy of New York, Mr T.H. McCollin ,of this city, and in fact all dealers, we believe, supply the paper already sensitized, and for experiment, perhaps, that is the best way to get it....

     

  • Reference 8:
    • The Philadelphia Photogapher Vol. XVI February 1879 nº 182
    • Mr. Albert Levy 77 University Place New York receives a very flattering testimonial to the qualities of his emulsion from the British Journal, in wich the editor says it futfils satisfactorily the requirements of an emulsion . The two negatives we obtained through its agency posses all the features wich we usually secure when makin use of a good sample of washed emulsion

     

  • Reference 9:
    • A curious advertisement of Levy looking for an assistant.
    • Wanted
      An operator with a steady hand to flow emulsion on dry plates. Adress A. Levy 77 University Place. N. Y.

     

  • Reference 10
    • The Philadelphia Photographer Vol XV July 1878 nº 175
    • We have just received of Mr. Albert Levy of 77 University Place New York a four page circular containing full particulars as to  the use of his emulsion and dry plates. He also describes a number of other useful articles which his manufactures has for sale

     

 

  • Reference 11
    • Philadelphia Photographer Vol XV nº179 Noviembre 1978
    • Editor’s table
      Pictures received.....From Mr. Albert Levy  New York, some instantaneous marine views from his emulsion plates. Really surprising they are.

     

 

  • Reference 12
    • The Philadelphia Photographer Vol XV August 1878 nº 176
    • Editors Table
      ....From Mr. Albert Levy nº 77 University Place, New York, some instantaneous views made with his improved rapid working emulsion , views of animals steamboats on their rapid course and yachts flying before the breeze. This is a wonderful advance in photography, for not only is the general character the view secured, but even the smallest details are brought out with perfect distinctness , the ripples of the water, the white foam dashed up by the wheel of the steamer , and the reflection of the boat in the glittering waves..

     

  • Reference 14
    • The Philadelphia Photographer March 1879 nº 183
    • Editor’s table
       Levy’s  Emulsion Dry Plate Camera
      Mr. Albert Levy 77 University Place New York so well kown in connection with with his emulsion and emulsion plates  quick to see the needs of the fraternity , has already placed in the market a unique litte camera for dry plates , to serve the purpose of the “Stereographe” , described in our last number, and offers camera and lens for $12 , for plates 4x5 inches. For this sum a half of dozen plates, developer, pyro, and hypo, are included, with full instructions for working the same. Mr. Levy has thus doubtless met a real want

     

 

  • The British Journal of Photography

            Extracts of several mails to/from the British Journal of Photography and Albert Levy. Found at

http://archive.org/stream/britishjournalof40londuoft/britishjournalof40londuoft_djvu.txt

 

 

          Letter 1:

tried hot water without any good. I did not try boiling water, as, however  an amateur can use it, it is rather out of the (luestion for a toning of over  100 10 X 8 or 12 X 10 prints. I have tried borax in hypo with some fair  results for some short time, but then found it only a cure for very small blisters, but not for large ones.

 

I was told a few drops ot ammonia in hypo would cure ; but no. The only good result was obtained with the new methylated spirit. 1. Now what I want to asl; you is. Do you not tliink that this methylated spirit  may in time act injuriously to the print ? The smell remains even after  the print is mounted, and then another trouble sets in. When dry there appears on some partx of the print some very dirty marks, a kind of skim  (or scum) as if touched with very dirty hands. These marks disappear almost altogether when rubbed oft very hard with the hand. 2. What is it? 3. Will it injure the print?— I am, yours, (Sc, A.Levy.

 

4, Areniic Pinel, Asnieres (Seine), January 29, 1893

 

 

         Letter 2:

PHOTOGKAPHING AT THE CHICAGO EXHIBITION.

 

To the Editor.

 

Sir, — Yonr always valuable and welcome Jocrnai, came to hand, and as you are always trying to keep your readers well posted, you should add a P.S. to Mr. S. A. Crawford's letter (p. 78) to the effect that Mr.  Official Photographer, C. D. Arnold by name (very glad to take pictures, Ac, against pay, Ac), does not even answer my inquiry to effect.

Personally I have written three times to him without being able to obtain  an answer, my first letter dating November 12 last. The above may prove interesting to other parties who may be tempted to ask Mr.

C. D. A. for any reference or negatives.

By the way, Mr. Editor, what do you say to the American generosity towards allowing photographers on the Exhibition grounds ? You were at tiie time very hard against French meanness in 1889. Let me remind you of the rules that existed then. Twenty francs, or 10»., for one day's work, and no restriction to sizes or cameras — permission renewed if  weather unfavourable, or 300 francs {121.) for the whole time the Exhibition was open. — I am, yours, &c., Albert Levy.

 

4, Avenue I'inel, Asnieres, Seine.

P.S. — Is there any practical and easy way to wash film negatives after hypo, say, one dozen at a time, same as glass plates ?

 

         Letter 3:

BLISTEIIS.

To the Editor.

 

Sn;, — Your correapondent, Mr. A. Levy, seems troubled with, the use of  the new methylated spirit as a prophylactic in the case of blistere.

 

Before 1 Rave up the use of albnmenised paper I was now and again troubled with them, until the cure— so far as the brand of paper I was then using was concerned — came to me by chance. Whilst toning I found I Iwd no hypo prepared. I hastily got some ready by suspending a muslin bagful in some very hot water, and by the time I required to put my prints in it was still quite warm. No blisters rose. I tried repeatedly afterwards, waiming my hypo, and never had another blister.

I should be glad if this method may bring Mr. Levy and others relief. —

I am, yours, itc, J. Cirtkk BnowNB, D.D.

 

Thuriiing Rectory, Oumlle, Feb. 6, 18!)3.

 

         Letter 4:

WASHING CUT FILMS— BLISTERS.

To the Editor.

Sir, — Allow me to thank yon and your correspondents, Mr. J. E. Hodd

and Dr. J. Carter Browne, for their kind answers to my inquiries as published in your most valuable Journal. I will try the suggestion for washing films, but I am afraid that for 12 x 10 plates the suction will not hold, especially when the washing water falls edgeways on the plate. I have used the following way, which I think very good. I drill on the smallest edge two small holes with a drill, and hang up the films to a oross wire over top of washing tank with an S-shaped wire of suitable length, and then let the water run. This may prove useful to other users of the films, and if the manufacturers of films could drill the holes before- liand so much the better.

 

Next I will answer in regard to blisters. Having used, since I wrote to jou, pure alcohol and not the methylated stuff, I find I am always iiaving the same trouble of scum after mounting, but iw blisters. I am not positive of it as yet, but I think this scum comes simply from the tint with which the albumen'paper is covered — pink, mauve, or whatever it is — being dissolved by the alcohol unevenly, and remaining on top through all ultimate washings without hurting it, otherwise than when dry. I will try white paper and then see the results.

As regards blisters and a warm hypo bath I must say that I cannot agree with Dr. J. C. Browne, having tried long ago hypo at any degree of heat, from 40° to perhaps 100' Fahr., and have generally found the higher the temperature the more blisters and the larger ones. Alcohol I have found the only sure remedy. Nevertheless, I am very much obliged to these gentlemen for their kind suggestions. — I am, yours, &c.,

 

4, Avenue Pinel, AsnUres, Seine, February 25, 1893. Albert Levy.

 

         Letter 5:

AET IN PHOTOGEAPHY.

To the Editor.

SiK,— Referring to your note signed " F. B.," page 269, 1 should have thought that you would have long ago discarded the idea of mixing oil with water. Art in photography is about as vexatious as amateurs and professionals. The first one (artist) will not admit in his exclusiveness  that any art is at all possible without him, and the second one (amateur)  that any improvement is possible without liim also. The only difference is that the artist is educated to the art, while the amateur is born so ; that is, at least, the reasons given to the lower class of mortals that do not understand what they so well try to impress upon the few or many un- initiated. From all the articles on art in photography as against art in paiiiting that have been published I have gleaned the following :— An artist, however poor in art he may be, will never turn out anything but  there will and must be in it some artistical merit. Bad design, bad colours, bad posing, bad everything, yet artistic. Now, a photographer, however well chosen the subject, well lighted and well finished the result, is never artistic— at least, from an educated artist's views. Why not let this matter rest a while now ? I, for one, would rather (uneducated as I  am) have a fine photograph than a poor painting. I may be wrong, but I am pretty sure that, however educated an artist may be, he mil not average in taking photographs more than one real fine view out of a dozen, and ditto the artistic photographer. Of course, they may not admit this readily ; but, nevertheless, they will sliow you always very few of the results of their work, carefully omitting mistakes and failmes.

It is human nature only, after all. They all do it.

 I have tried several makes of films lately, and, as you object generally to giving names, I do not think that the results obtained would be very  interesting to your readers. With one English firm I have always very fine results, while with the others I have uneven ones, such as frilling, no intensity, and disagreeable lifting of the gelatine whUe printing. I have also tried lately some American films, which have a rough or ground back to them. Having given what I think a correct exposure, I found the picture come up pretty quick ; but the film (developed with pyro) was fearfully stained yellow, and the back of it same way, so that it takes a whole day in full sun, and with this fair weather, to get one print. I tt wish you could tell me how to get rid of this yellow stain, if possible.

 

41, T^?*^ ^?" ^""^ """^ *^° '° regard to the Exhibition at Chicago, and  the failure I met witli in regard to obtaining an answer from the head of

 

► the photographing department. Do you know of any one that has met

 

J with better success ? and if so, please let me know how he managed it, so

 

» 1 may do the same.— I am, yours, <tc.,

Asniires, Seiiu, May 1, 1893.


 Letter 6:

DEPRESSION IN PHOTOGRAPHY.

To the Editor.

Sir,— I am really sorry to see you printing so many letters on depression  in photographic business, such as those written by Messrs. T. S. Hicks,

Another Pro., and many others, losing in so doing such valuable space in  your independent British Journal of Photography, specially since

" Amateur," page 398, answers so well all points. He gives the remedy

in a few words, a kind of universal panacea, and without recourse to law  orN.A.P.P., or any convention. All that is needed is to enlarge the  amateur agglomeration, and then reduce all the professionals in larger cities to six or less first-class ones, these to be selected, of course, by a  committee of amateurs. Any of these will do for that purpose, they being  all superior beings, to which (as is well known now) all that is known in photography up to date is due.

 

Mr. Editor, in your modesty you have never given us a list of whatwe owe to the amateur. Allow me, therefore, to ciuote a few of the  improvements they have made, or, more modestly, brought about, and to quote in rotation let me refer to page 280, over Mr. W. D. Welford's

signature : 1. Increasing speed of plates (never thought of before the amateur came with his hand camera). 2. Improving apparatus generally (same remark as above). 3. Causing greater attention to small work (ditto). 4. Increasing the number of photographers (amateur wants them, singularly, reduced). 5. Naturalness of posing (ditto as above No. 1). C.  Aiding journalism and study of life (this is true). 7 Improving mental  (?) and physical action (certainly around the chin, especially, to brag  about all amateur achievements). Then Mr. Amateur comes in by stating  that this particular class takes up chemistry, composition, and lighting, and. what is a new addition, optics, which I think was left up to date to specialists, only. What next ?

Mr. Amateur must have an exceptional lot of first-class amateur acquaintances Jwho throw away all pcor negatives snJ prints. My experience so far has been that, if amateurs were to act in such a radical way, they are not likely to find glass  too heavy and bulky to store away and want films instead. Oh dear, no !

To return to the poor professional, I would say that the amateur does him more harm by his talk than by actual work. The amateur tells how much one plate costs him and the paper to print on, and maybe the small outlay for a piece of cardboard. From this the uninitiated counts  up the difference asked by the professional without adding anything for  work, failures, chemicals, rent, taxes, retouching, living, help, dull  times, instruments, repairs, &c., all things Mr. Amateur knows very  little about, and never speaks of to others. He has one outfit  and one lens, generally one that does for all work, good or bad,  principally the latter. He takes views and portraits, interiors and  churches, buildings, and reproductions of engravings, all with one  lens, and instantaneous too. If it is bad, the plate or chemicals are at fault. If it turns out good, believe me, it is nine times out of ten a mere chance. Exceptions, Mr. Amateur, prove the rule. There are better and worse photographers the same as in any trade, wliichever you take, linen, clotli. machinery, tailors, milliners, &c., photography is no exception.

The British Journal of Photography tries hard to improve the standard ; but, it there are only six good ones in larger towns, the others may have some good reasons to complain, even if they are a little inferior.

Remember, please, Mr. Amateur, that superiority is only possible among amateurs, and be more generous towards the poor professional that only wants to make a living.

One word more and I am through. I know of a great many amateurs whose only library consists of a sheet of paper with a formula on it and a few circulars of cheap outfits and plates, and, maybe, paper and card- board, but no books or journals. — I am, yours, A'c. , A. Levy.

 

          Letter 7:

of dark room, as the principal views to be taken in the windy city are «moko and black buildings, and may bo an endless perspective of flat lands on one side and a lake on the other. Perhaps next winter an exhibition <if all views taken by amateurs will be interesting, especially those of Chicago, which, if superposed, as is sometimes done with portraits to get a family type, will probably be very successful to show Chicago as it is week days, with so much smoke and dirt that going out fiesli and clean ot eight a.m. you can return at six p.m. to play minstrel without cork, and linen to match. — I am, yours &c., A. Levy.

 

July 3, 1893.

 Letter 8:

To the Editor.

Sir,— Mr. A. Levy, of Paris, I notice has contributed a letter on the good old amateur question to the last number of The British Jocrnal

OF Photography. In it he says (speaking of the amateur), " Why, with their knowledge and (superior to all) ingenuity, can they not make up anything portable to change their plates in, lic. ?" I should not like to accuse this gentleman of ignorance, but I should certainly say that at the time he wrote it he must jiuve been labouring under a condition of tem- porary absent-mindedness, or he would most certainly have known what ' most beginners know, viz., that there are at the present moment plenty of portable changing bags on the maiket, most of them the inventions of amateurs. So much for the first paragraph of his letter. The next paragraph I havenodoulit lie con-iJers unanswerable, and he is perfectly correct. Vituperation, however fals>; .and acrid, is never worth any one's while to answer, and the chief aigament(?), namely, that in former years amateurs used to use tripnds for instantaneous work, and now do not, and hence they are unworthy of all con«ideration, is altogether puerile. There is a certain amount of reason in the next paragraph about amateurs paying for the use of dark rooms (by the way, I have never used one yet that I not been charged for), hut even here our friend makes another great mistake. He siys that he (the amateur) " will find it as natural to pay for it as he does when he uses a wash room, or asks the advice of a doctor or lawyer." Perhaps it is natural in America to pay the abovementioned people (and I conclude from his letter that your correspondent is an American), but in England things are different. In England a doctor, even if he has saved your life, is never considered to have an absolute right to any fee, certainly not as much as the grocer, or baker, or chimneysweep. The last paragraph of this effusion does not, as far as I can see, concern the amateur question at all. — I am, yours, *c.,

London, July 25, 1893. " " "

 

 

 

 

Es

Colección de Artes Gráficas 

Índice de las Fotografías Originales de “El Fotógrafo de Filadelfia” Durante casi 40 años, Edward Livingston Wilson (1838-1903) publicó las revistas de fotografía más influyentes de Estados Unidos, comenzando en enero de 1864 con “El Fotógrafo de Filadelfia”, posteriormente rebautizada como Wilson’s Photographic Magazine. A diferencia de otras revistas de la época, repletas de reproducciones de xilografías, Wilson comprendió que era necesario ver fotografías reales para que su público apreciara esta nueva forma de arte, por lo que se determinó que cada número debía ir acompañado de un estudio fotográfico. De 1864 a 1901 (cuando las fotografías fueron sustituidas por los medios tonos), Wilson publicó 540 impresiones de 280 fotógrafos de 142 ciudades de 16 países. Solo en Estados Unidos, se enviaron negativos de fotógrafos de 33 estados diferentes, algo notable dado que solo había 36 estados en 1864 y 44 en 1890. 

El Fotógrafo de Filadelfia, menciona Albert Levy. El Fotógrafo de Filadelfia: La actividad de Levy en Estados Unidos se documenta en una de las revistas de fotografía más prestigiosas del siglo XIX: 

El Fotógrafo de Filadelfia Una revista mensual ilustrada Dedicada a la fotografía Editada por Edward L. Wilson. Editor y propietario. Números 912 y 914 Chestnut Street En varias publicaciones de esta revista, se puede leer la participación de Albert Levy en la Exposición del Centenario de Filadelfia de 1876, anuncios para la venta de fotografías y, aún más importante, varios artículos sobre la emulsión francesa, las placas secas. Como se mencionó anteriormente, Levy fue uno de los primeros competidores de Eastman en la comercialización de las placas secas. Esta invención contribuyó enormemente al desarrollo y la expansión de la fotografía. Toda la información que aparece a continuación en esta sección se ha recopilado gracias a la digitalización de la revista, realizada por la Biblioteca Pública de Boston. Esto permite la inclusión de ejemplares de la revista. A continuación, se incluye una breve explicación de cada referencia, pero recomendamos encarecidamente la lectura completa de cada uno de los artículos antiguos. Toda esta información demuestra la actividad de Albert Levy en Estados Unidos y el reconocimiento alcanzado en la fotografía estadounidense del siglo XIX. 

 Referencia 1 Philadelphia Photographer, agosto de 1876, vol. XIII, n.º 152 Contiene comentarios sobre los fotógrafos que participaron en la Exposición Internacional del Centenario de 1876, celebrada en Filadelfia. ....Fotografía en la Gran Exposición. El Salón Fotográfico, a medida que se completa, crece en belleza y atractivo.......... ....La segunda exposición en esta pantalla es una colección de vistas arquitectónicas del Sr. Albert Levy, 77 University Place, Nueva York; dos fotogramas están marcados como "Estados Unidos" y el tercero como "Europa". 

Referencia 2 Philadelphia Photographer, mayo de 1878, vol. XV, n.º 173 Hay un extenso artículo que explica las ventajas de las placas secas de Albert Levy, al menos un año antes de la patente de George Eastman (1879: Eastman inventó una máquina de recubrimiento por emulsión que le permitió producir placas secas fotográficas en masa [Kodak]). La emulsión fotográfica francesa de Levy Existe un gran interés en el desarrollo del proceso de emulsión, y el fotógrafo profesional espera pacientemente a que alguien desarrolle un método para trabajar la emulsión lo suficientemente seguro, fiable y rápido como para justificar su introducción en la práctica diaria o, dicho de otro modo, que sea "tan bueno como el húmedo". Se han encontrado varios que afirman haberlo hecho plenamente. Sin embargo, hay un caballero, el Sr. Albert Levy de Nueva York, a quien se le debe gran crédito por haber logrado grandes avances con la emulsión y quien, hasta donde sabemos, ha progresado más que nadie. Ha simplificado la manipulación tanto como el "proceso húmedo". Las placas secas, mucho más que las húmedas, tienden a aflojarse en los bordes y a despegarse del cristal. Para evitar cualquier posible peligro de que esto ocurra, se recomienda el uso de un acabado preparado y a la venta por el Sr. Levy. 

 Referencia 3 The Philadelphia Photographer Vol. XV, noviembre de 1878, n.º 179 Publicidad de las placas secas en formato de carta. Fechada el 14 de junio de 1878. El texto que elogia las placas secas de Levy está firmado por H.W. Wickham, residente en Nueva York. ... Le compré al Sr. Albert Levy una docena de sus placas secas a modo de prueba y el resultado superó con creces mis expectativas, llegando a creerme fotógrafo. 

Referencia 4: The Philadelphia Photograph Vol. XV, diciembre de 1878, n.º 180 Anuncio de la Emulsión Francesa donde Levy indica ser el único propietario y que la placa lleva su firma. Inigualable en rapidez (totalmente igual a la de ambas placas), intensidad en cualquier grado de revelado simple sin plata ni otro intensificador y absolutamente permanente 

 

Revista Británica de Fotografía  

Extractos de varios correos electrónicos dirigidos a/desde la Revista Británica de Fotografía y Albert Levy. 

Disponibles en: http://archive.org/stream/britishjournalof40londuoft/britishjournalof40londuoft_djvu.txt 

Carta 1: Probé agua caliente sin ningún resultado. No probé con agua hirviendo, ya que, aunque un aficionado pueda usarla, está bastante fuera de lugar para virar más de 100 impresiones de 10 x 8 o 12 x 10. Probé bórax en hipoclorito con algunos resultados aceptables durante un corto tiempo, pero luego descubrí que solo curaba ampollas muy pequeñas, pero no las grandes. Me dijeron que unas gotas de amoníaco en hipoclorito curarían, pero no. El único buen resultado se obtuvo con el nuevo alcohol desnaturalizado. 1. Ahora, lo que quiero preguntarle es: ¿No cree que este alcohol desnaturalizado puede, con el tiempo, perjudicar la impresión? El olor persiste incluso después de montar la impresión, y entonces surge otro problema. Al secarse, aparecen en algunas partes de la impresión unas marcas muy sucias, una especie de espuma, como si se hubiera tocado con las manos muy sucias. Estas marcas desaparecen casi por completo al frotarlas con mucha fuerza con la mano. 2. ¿Qué es? 3. ¿Dañará la impresión? — Atentamente, (Sc, A. Levy. 4, Areniic Pinel, Asnières (Sena), 29 de enero de 1893

 Carta 2: FOTOGRAFÍA EN LA EXPOSICIÓN DE CHICAGO. Al Editor. Señor: — Su siempre valiosa y bienvenida publicación llegó a mis manos, y como siempre intenta mantener a sus lectores bien informados, debería añadir una posdata a la carta del Sr. S. A. Crawford (pág. 78) indicando que el Sr. Fotógrafo Oficial, C. D. Arnold (con mucho gusto tomará fotos, Ac, a cambio de una remuneración, Ac), ni siquiera responde a mi solicitud. Personalmente, le he escrito tres veces sin obtener respuesta; mi primera carta data del 12 de noviembre pasado. Lo anterior puede resultar interesante para quienes deseen solicitar al Sr. C. D. A. alguna referencia o negativos. Por cierto, Sr. Editor, ¿qué opina de la generosidad estadounidense al permitir la entrada de fotógrafos al recinto de la Exposición? En 1889, usted fue muy duro con la mezquindad francesa. Permítame recordarle las normas vigentes entonces: veinte francos, o 10 francos, por un día de trabajo, sin restricciones de tamaño ni de cámara; el permiso se renovaba en caso de mal tiempo, o 300 francos durante toda la exposición. — Atentamente, Albert Levy. 4, Avenue I'inel, Asnières, Sena. P. D.: ¿Existe alguna forma práctica y sencilla de lavar los negativos de película después de la hipotermia, digamos una docena a la vez, igual que las placas de vidrio? 

 

 Carta 3: Bliss. Al Editor. Sn; — Su corresponsal, el Sr. A. Levy, parece preocupado por el uso del nuevo alcohol desnaturalizado como profiláctico en este caso. de ampollas. Antes de empezar a usar papel albanilizado, me costaba de vez en cuando, hasta que la solución —en lo que respecta a la marca de papel que usaba entonces— me llegó por casualidad. Mientras tonificaba, descubrí que no tenía preparado un hisopo. Rápidamente preparé un poco, suspendiendo una bolsita de muselina en agua muy caliente, y para cuando necesité colocar mis impresiones, aún estaba bastante caliente. No me salieron ampollas. Lo intenté repetidamente después, esperando mi hisopo, y nunca más volví a tener ampollas. Me alegraría que este método pudiera aliviar al Sr. Levy y a otros. — Atentamente, J. Cirtkk BnowNB, D.D. Jueves, Rectoría, Oumlle, 6 de febrero de 1833.

 

 Carta 4: LAVADO DE PELÍCULAS DE CORTE: AMPOLLAS. Al Editor. Señor, — Permítame agradecerle a usted y a sus corresponsales, Sr. J. E. Hodd y Dr. J. Carter Browne, por sus amables respuestas a mis preguntas, publicadas en su valiosa revista. Probaré la sugerencia para lavar películas, pero me temo que para placas de 12 x 10 la succión no se mantendrá, especialmente cuando el agua de lavado caiga de canto sobre la placa. He utilizado el siguiente método, que considero muy bueno. Perforo dos pequeños agujeros en el borde más pequeño con un taladro, cuelgo las películas a un alambre de acero sobre la parte superior del tanque de lavado con un alambre en forma de S de la longitud adecuada y luego dejo correr el agua. Esto puede ser útil para otros usuarios de las películas, y si los fabricantes de películas pudieran perforar los agujeros con antelación, mucho mejor. A continuación, responderé sobre las ampollas. Habiendo usado, desde que le escribí, alcohol puro y no el metilado, siempre tengo el mismo problema de espuma después del montaje, pero con ampollas. Todavía no estoy seguro, pero creo que esta capa se debe simplemente al tinte con el que está cubierto el papel de albúmina (rosa, malva o lo que sea), que se disuelve con el alcohol de forma desigual y permanece en la superficie durante todos los lavados finales sin dañarlo, salvo cuando está seco. Probaré con papel blanco y luego veré los resultados. En cuanto a las ampollas y un baño hipotónico caliente,...