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Henry Blackburn
2nd ed
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As to the relative value of the different photographic relief processes, that can only be decided by experts. Speaking generally, I may say that there are six or seven now in use, each of which is, I am informed, the best, and all of which are adapted for printing in the same manner as a wood-block.1 Improvements in these processes are being made so rapidly that what was best yesterday will not be the best to-morrow, and it is a subject which is still little understood.
In the present book it is proposed to speak principally of the more popular form of illustration (relievo); but the changes which are taking place in all forms of engraving and illustration render it necessary to say a few words first upon intaglio. We have heard much of the “painter-etchers,” and of the claims of the etchers to recognition as original artists; and at the annual exhibition of the Society of Painter-Etchers in London, we have seen examples in which the effects produced in black and white seemed more allied to the painter’s art than to the engraver’s. But we are considering engraving as a means of interpreting the work of others, rather than as an original art.
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